Summer 2014 in Montreal // Été 2014 à Montréal

Céline Wirmer, Dr. Elliot Kravitz, Suzanne Sauvage  photos Lena Ghio

Français en bleu

Our city is well known for its many festivals, great restaurants and exciting culture. This summer several exhibits are offered to the public, each with an intriguing perspective.

Notre ville est bien connue pour ses multiples festivals, magnifiques restaurants et sa culture excitante. Cet été plusieurs expositions sont offertent au publique, chacune avec une perspective intriguante.

McCORD MUSEUM // MUSÉE McCORD

Everyone who passed through Montreal until 2006 knew of or visited the legendary deli known as BENS. The nightclub crowds would gather there after hours to finish the evening with a delicious smoked meat sandwich. The McCord Museum was able to recuperate many artifacts of the famed establishment because of its rich historical connection to the city and the international community. Dr. ELLIOT KRAVITZ accompanied us on the tour of the exhibition and delighted us with stories I had never heard about this unique place that had been there all my life! My favorite was about how M. BEN KRAVITZ, the founder of the restaurant, gave food to people in need during the depression years in the early 30's. The Museum restaurant will offer on its menu for a limited time the delicious smoked meat sandwich. This exhibition will last until November 23 2014.

The Museum has also installed the exhibition Harry Sutcliffe: Strolling through Montreal on one of the cities most beautiful streets, McGill College. HARRY SUTCLIFFE produced some of the most popular postcards of the city in his time.

FRANÇAIS

Tout le monde qui est passé à Montréal jusqu'en 2006 a connu ou visité le légendaire déli BENS. Les foules des clubs de nuit s'y ramassait après la fermeture pour compléter la soirée avec un délicieux sandwich à la viande fumée. Le Musée McCord a été capable de récupérer plusieurs artifacts du célèbre établissement à cause de sa riche connection historique avec la ville ainsi qu'avec la communauté internationale. Dr. ELLIOT KRAVITZ nous a accompagné lors de la visite de l'exposition et nous a ravis avec des histoires que je n'avais jamais entendues au sujet de ce lieu unique qui avait été là toute ma vie! Ma favorite est celle de comment M. BEN KRAVITZ, le fondateur du restaurant, donnait à manger aux gens dans le besoin lors de la dépression de 1930. Pendant un temps limité, le restaurant du Musée aura sur son menu la délicieuse sandwich à la viande fumée.

Le Musée a aussi installé l'exposition Harry Sutcliffe, Flâneur dans Montréal sur une des plus belles rue de la ville, la rue McGill College. HARRY SUTCLIFFE a produit les cartes postales les plus populaires de son temps sur la ville. L'exposition se poursuit jusqu'au 23 novembre 2014.

The MAC celebrates 50  // Le MAC célèbre 50

John Zeppetelli, Angelica Mesiti, Rafael Lozano-Hemmer &
Okanogan by/de Dil Hildebrand  photos Lena Ghio

The Grace of a Gesture

I approach art exhibits with the naiveté of a child. Sometimes I wish I could be more critical but I react with love that lures me to certain pieces. For me, art is heart. JOSÉE BÉLISLE is the curator of the first part of the exhibition designed to showcase the collection of prestigious donations the Museum has been granted for the last 50 years. The thing that worked for me in this part of the exhibit was the colors, vibrant and well sequenced. I felt crowded by the volume of pieces in the rooms, 200 to be precise, but I was dazzled by my discoveries of various pieces I fell in love with: MICHEL SAULNIER Rue de banlieu, 1982 ( Suburban Street) for example; FRANÇOIS LACASSE Grandes Pulsions III, 2007 (Strong Drives); DIL HILDEBRAND Okanogan, 2008, being my favorite. Pulse Room, 2006, by RAFAEL LOZANO-HEMMER is also curated by Bélisle. This one is a heart piece! Inspired by his wife's pregnancy of twins, the artist constructed a room that can transmit 300 heartbeats at a time. When a new person records their heartbeat, an older one is erased. The installation stops when a new heartbeat is integrated to the whole so you can hear the singular heart for an instant and then the 300 beat as one. I was very moved.

I also fell in love with ANGELICA MESITI's video installation Citizens Band where she shows us street musicians that are also immigrants making the most sublime music. The sounds that these artists make combined with the sensitive approach of Mesiti took me to Heaven. Everyday people walk by as Angels sing. This presentation was curated by JOHN ZEPPETELLI. The exhibition will continue until September 7 2014.

La Beauté du Geste

Quand j'approche une exposition d'oeuvres d'art c'est avec la naïveté d'un enfant. Quelquesfois j'aimerais être plus critique mais je réagis avec l'amour qui m'attire vers certaines pièces. Pour moi l'art c'est le coeur. JOSÉE BÉLISLE est la commissaire de la première partie de l'exposition conçue pour étaler la collection de dons prestigieux offerts au Musée depuis ces derniers 50 ans. Ce qui m'a plu dans cette section de l'exposition sont les couleurs vibrantes et bien agencées. Je me sentais envahie par le volume de pièces dans les salles, 200 pour être précise, mais j'étais émerveillée quand je découvrais certaines pièces avec lesquelles je tombais amoureuse:   MICHEL SAULNIER Rue de banlieu, 1982, par exemple; FRANÇOIS LACASSE Grandes Pulsions III, 2007; DIL HILDEBRAND Okanogan, 2008, qui est ma favorite. Pulse Room, 2006, de RAFAEL LOZANO-HEMMER est aussi présenté par Bélisle. Ceci est un coup de coeur! Inspiré par la grossesse de sa femme qui portait des jumeaux, l'artiste a construit une salle qui peut contenir 300 battements de coeur à la fois. Quand une personne enrégistre son battement de coeur, un plus anciens s'efface. L'installation s'arrête quand un nouveau battement de coeur est intégré au tout donc on peut entendre ce coeur unique battre pour un instant avant de se joindre au 300 pulsions. J'étais très émue.

Je suis aussi tombée amoureuse de l'installation vidéo d'ANGELICA MESITI, Citizens Band, où elle nous montre des musiciens de rue qui sont aussi des immigrants en train de faire de la musique sublime. Les sonds que produisent ces artistes combinés avec l'approche sensible de Mesiti m'a transporté au Ciel. Des gens de tout les jours passaient alors que les Anges chantaient. Le commissaire de cette présentation est JOHN ZEPPETELLI. L'exposition se poursuit jusqu'au 7 septembre 2014.

THE MOUND OF VENDÔME // LE MONTICULE DE VENDÔME
by/par DAVID GISSEN @ CCA

David Gissen & Giovanna Borasi photos Lena Ghio

DAVID GISSEN is an historian and theoretician of architecture. He is the author of Subnature (2009) and Manhattan Atmospheres (2014). In this exhibition he asks us to consider a historical event where the Central Committee of the Paris Commune voted to tear down a monument on the Place Vendôme, a column that had been commissioned by Napoleon I in 1809 to commemorate his victory at Austerlitz. The conflict in April 1871 was about the humane side of what the monument represented in terms of it being “insult by the victors to the vanquished”. You will see several photographs of the methodical way in which the destruction was handled. Principally, there was a mound of straw, manure, sand and branches created on the site to cushion the falling debris of the bronze monument that was molded by canons. The destruction was handled with great care and many photographs were taken of the event that were sold to the public. Many books were published documenting the destruction of the monument that took only eight hours. There is a petition at the exhibit to rebuild the mound on Place Vendôme as an ephemeral and symbolic act. The exhibition will continue until September 14 2014.

FRANÇAIS

DAVID GISSEN est un historien et théoriticien de l'architecture. Il est l'auteur de  Subnature (2009) et Manhattan Atmospheres (2014). Dans cette exposition il nous demande de considérer un événement historique où le commité central de la Commune de Paris a voté pour démolir un monument sur la Place Vendôme, une colonne commandée par Napoléon I en 1809 pour commémorer sa victoire à Austerlitz. Le conflit en avril 1871 questionnait l'humanité de ce que le monument représentait comme « une insulte permanente des vainqueurs aux vaincus ». Vous verrez plusieurs photos de la manière méthodique avec laquelle la destruction du monument s'est déroulée. Principalement, la construction d'un monticule de paille, de fumier, de sable et de branches crée sur le site pour amortir les débris tombants du monument de bronze moulé par des canons. La destruction s'est déroulé minutieusement et plusieurs photos ont été prise de l'événement qui ont été vendues au publique. Plusieurs livres ont été publié qui documentaient la destruction du monument qui a pris seulement huit heures. Il y a une petition à l'exposition pour reconstruire le monticule sur la Place Vendôme en tant qu'éphémère et acte symbolique. L'exposition se poursuit jusqu'au 14 septembre 2014.

HAVE A GREAT SUMMER   PASSEZ UNE MERVEILLEUSE ÉTÉ

-LENA GHIO

EMERGE ART et/and JÉSUS de/of Nazareth avant-première / preview

  Français plus bas

A

Since July 23 2013 I have been photographing water as it makes inexplicable but intelligent images in response to its surroundings. Last January I made a series of Emerge Art with the book «Extrême: Esthétiques de la limite dépassée» by Paul Ardenne that led to an extraordinary breakthrough that will make it possible for us to develop a complex language with water. I have outlined the science behind Emerge Art in this linked article.

In the series of Emerge Art previewed here, I explore the question who is  JESUS OF NAZARETH by pairing my bowl of water with books containing historical works of art about his extraordinary life. To be thorough, I refreshed my knowledge of Jesus and also reviewed what CARL G. JUNG had to say about him in his book AÏON.

Images A & B were taken while the bowl of water was beside the book The Illustrated Life of Jesus Christ by JOSEPH RHYMER opened on pages 8 and 9 The Annunciation by Leonardo Da Vinci. Observe the style of the images that are reminiscent of the master's style, mysterious and dark. The Angel, image A, is not a fluffy creature, the message is dire because the child will be confronting evil until it destroys his young adult body. Across her pretty face specters that remind us of snakes. In the work of Carl Jung, I read that the snake was also a symbol of Christ, a way of integrating his dual nature that speaks of his battle with evil. Image B is a crow. At first I thought my study had failed. A crow could not represent the Son of God. But again in Jung's book you find out that the crow was a symbol of Christ's duality. The intriguing feature is that water somehow went beyond my conscious knowledge of Jesus and raised an ancient concept of Jesus.

B

Image C appears very confused. This time the water is on top of the previously named book, pages 50 and 51, The Miraculous Draught of Fishes, a painting by Raphael Sanzio, and behind it a detail of Leonardo's famous The Last Supper painting. There is an impression of huge crowds. Jesus is approaching the fulfillment of his earthly destiny. I see Jesus as the figure bottom left that is surrounded by birds, his face is turned towards the white cross ahead of him while a shrouded figure looks at him with sad eyes.

Carl Jung informs us that in spite of all our differences, we are always reminded of God because we are intelligent and the structure of our psyche already contains all knowledge of the Sublime.

FRANÇAIS

Depuis le 23 juillet 2013, je photographie l'eau alors qu'elle fait des images inexplicables mais intelligentes en réponse à son environnement. En janvier dernier j'ai fait une série d'Emerge Art avec le livre  «Extrême: Esthétiques de la limite dépassée» de Paul Ardenne qui a mené à une percée qui rend possible le moyen de développer un langage complexe avec l'eau. J'ai résumé la science qui sous-tend l'Emerge Art dans l'article lié ici.

Dans la série d'Emerge Art montrée ici en avant-première, j'explore la question qui est JÉSUS DE NAZARETH en jumelant mon bol d'eau avec des livres qui contiennent des oeuvres d'art historiques sur sa vie extraordinaire. Pour être rigoureuse dans mon étude, j'ai rafraîchi mes connaissances de Jésus et j'ai revue ce que CARL G. JUNG avait à dire sur lui dans son livre AÏON.

Les images A & B ont été prises alors que le bol d'eau était près du livre The Illustrated Life of Jesus Christ par JOSEPH RHYMER ouvert aux pages 8 et 9 L' Annonciation de Leonardo Da Vinci.

C

Observez le style des images qui évoque celui du maître, mystérieux et sombre. L'Ange, image A,  n'est pas une créature légère, le message est terrible parce que l'enfant devra confronter le mal jusqu'à la destruction de son jeune corps adulte. Devant son jolie visage on voit les spectres qui nous rappèlent les serpents.  Dans l'oeuvre de Carl Jung, je lis que le serpent est un symbole du Christ, une façon d'intégrer la qualité double de sa nature qui parle de sa bataille avec le mal. L' image B est celle d'un corbeau. En premier, j'ai cru que mon étude avait échoué. Un corbeau ne pouvait pas représenter le Fils de Dieu. Là encore l'oeuvre de Jung me répond que le corbeau est une autre symbole de la dualité du Christ. La particularité intrigante est que l'eau a  été au delà de ma connaissance consciente de Jésus et a soulevé un concept archaique de Jésus.

détails/details C
Jésus à gauche/ Jesus on left
Mystérieux personnage/ shrouded figure centre

L'image C apparaît  très confuse. Cette fois l'eau est sur le livre déjà mentionné, pages 50 et 51, La Pêche Miraculeuse, une peinture de Raphael Sanzio, et derrière on voit un détail de La Cène, une oeuvre célèbre de Leonardo. On a l'impression de grosses foules. Jésus approche la résolution de son destin terrestre. Je vois Jésus dans la figure du bas à gauche entouré d'oiseaux, le visage tourné vers la croix blanche devant lui alors qu'une figure mystérieuse le regarde tristement. 

Carl Jung nous informe qu'en dépit de toutes nos différences, on se fait toujours rappeler Dieu car nous sommes intelligents et que la structure de notre psyché contient déjà toutes les connaissances du Sublime. 

-LENA GHIO

FABERGÉ

Géza von Habsburg, Nathalie Bondil, Alex Nyerges   photo Lena Ghio

Français plus bas

FABULOUS FABERGÉ,  jeweler to the czars

What an intricate story is revealed through this luxurious exhibition. Let's begin with GUSTAVE FABERGÉ, born in Russia from protestant immigrants who fled religious persecution in France and who also happened to be master jewelers. In 1842, at age 28, he opened his first jewelry firm House of Fabergé in Saint-Petersburg. His son, CARL FABERGÉ, created the now renowned Fabergé Eggs that are surprisingly rare. There are less than fifty Imperial Easter Eggs left in the world at this time. The Tsars Alexander III and Nicholas II commissioned these eggs for their wives and mothers. The family business thrived until the Russian revolution shattered not only the Royal line but the Fabergé enterprise.

Enter two special women, art collectors, who together preserved many Fabergé artifacts: LILLIAN THOMAS PRATT (1908-1997) and LILIANE M. STEWART, philanthropist  and art collector, who died earlier this May 2014. It is in hommage of the latter that HUBERT LE GALL was chosen to design the exhibition so that each piece is presented with style.

The Montreal Museum of Fine Arts collaborated with the Virginia Museum of Fine Arts to gather these unique pieces fashioned with precise craftsmanship. I have visited the exhibition twice and each time I experience awe at the details of these historical and famous objects. The visitors around me felt as I did trying to memorize every piece. There is a popular saying, God is in the details, here the details are dazzling.

UNTIL OCTOBER 5 2014

FRANÇAIS

Imperial Fabergé Eggs
Oeufs Impériaux Fabergé
photo Lena Ghio

FABULEUX FABERGÉ, joaillier des tsars

Quelle histoire complexe se révèle aux travers cette luxueuse exposition. Commençons avec GUSTAVE FABERGÉ, né en Russie d'immigrants protestants qui fuyaient les persécutions religieuses en France et qui étaient aussi des maîtres joalliers. En 1842, à l'âge de 28 ans, il ouvre la première Maison Fabergé à Saint Petersbourg.  Son fils, CARL FABERGÉ, est le créateur des fameux Oeufs Fabergé qui sont plutôt rares. Il demeure moin de cinquante Oeufs de Pâques Impériaux dans le monde en ce moment. Les Tsars Alexandre III et Nicholas II commandaient ces oeufs pour leurs épouses et leurs mères. L'entreprise familiale fleurissait jusqu'au moment de la révolution en Russie qui vit détruire non seulement la famille royale mais l'entreprise Fabergé.

Ensuite entre sur la scène deux femmes exceptionnelles, collectionneuses d'art, qui ensemble ont préservé plusieurs artifacts Fabergé: LILLIAN THOMAS PRATT (1908-1997) et LILIANE M. STEWART, philanthrope et collectionneuse d'art, décédée ce mai 2014. C'est en hommage à cette dernière que HUBERT LE GALL a été choisi pour le design de l'exposition qui met en valeur chaque pièce avec style.

Le Musée des Beaux-Arts de Montréal a collaboré avec le Virginia Museum of Fine Arts pour assembler ces pièces uniques fabriquées avec une maîtrise précise. J'ai visité l'exposition deux fois et chaque fois je ressens de l'émerveillement pour les détails de ces objets historiques et célèbres. Les visiteurs autour de moi avaient le même désir que moi de mémoriser chaque pièce. Il y a un dicton populaire, Dieu est dans les détails, ici les détails sont éblouissants.

JUSQU'AU 5 OCTOBRE 2014

-LENA GHIO

NOTMAN Home of the web in Montreal / La Maison de web à Montréal

Noah Redler, director of the campus, guides us on the tour./ Noah Redler, directeur du Campus nous guide pendant la visite.  Photos Lena Ghio

Français plus bas

This week I took a tour for the official opening of the NOTMAN CAMPUS, a one of a kind hub for web and technology innovation in Montreal. This is an initiative that was launched by the OSMO Foundation in 2011 to create a community, a specialized ecosystem where web developers and businesses in search of the newest emerging Internet practices and breakthroughs can come together.

The images above are a sample of the airy well furbished spaces that are now available in a variety of time and price ranges to accommodate any type of web related work. There is also the opportunity to visit the site for free, to have access to spacious rooms to work in, and a very modern cafeteria where everyone is welcome.

Sitting Bull and Buffalo Bill
photographed by
William Notman.

The Notman House, situated at 51 rue Sherbrooke Ouest in Montreal, belonged to Canadian photographer WILLIAM NOTMAN. It is a Heritage site and this adds another dimension to the new Campus that has renovated the buildings and will insure its upkeep.

FRANÇAIS

Cette semaine j'ai fait la visite du  NOTMAN CAMPUS pour l'ouverture officielle de ce véritable hub d'innovation et d'entrepreneuriat web à Montréal. Ceci est une initiative qui a été lancé par OSMO Foundation en
2011 pour créer une communauté, un écosystème spécialisé où peuvent converger les entrepreneurs du web et les entreprises à la recherche des plus récentes pratiques et percées de l'Internet.

Les images plus haut sont un échantillon des espaces bien aérées et rénovées qui sont disponibles dans une variétés de forfaits  pour accommoder tous les types de travaux associés au web. Il y a aussi l'opportunité de visiter le site gratuitement, d'avoir accès à des salles spacieuses pour travailler, et une cafétéria très moderne où tout le monde est bienvenu.

La Maison Notman, située au 51 rue Sherbrooke Ouest à Montréal, appartenait au photographe Canadien WILLIAM NOTMAN. C'est un site historique et cela ajoute une autre dimension au nouveau Campus qui a rénové les édifices et maintenant en assurera la maintenance.

-LENA GHIO

EMERGE ART and the THEORY OF EXTRA DIMENSIONS

FRANÇAIS translate à gauche
                                                                                     ABSTRACT

Chiens Andalou,  ©Lena Ghio, 2014
One of the photos presented at
the World Premiere this April in Montreal

Scientists from around the world have been studying water for a long time. A research team at University of California San Diego and Emery University sum up their current research thus: «… understanding the properties of water at the molecular level can ultimately have an impact on many areas of science, including the development of new drugs or advances in climate research. » The same team believes understanding water is relevant to many scientific disciplines including «… physics, chemistry, biology, geology, climate research.»[1]

Emerge Art is a documentary of water that under certain conditions creates coherent and eloquent images that suggest it has cognition. The images water forms transcend time space and death suggesting that water could hold the key to proving the Theory of Extra Dimensions.

EMERGE ART AND THE THEORY OF EXTRA DIMENSIONS

The famous CERN Institute describes one method[2] for testing Extra-Dimensions: «One option would be to find evidence of particles that can only exist if extra dimensions are real.»

On 23 July 2013 I photographed a bowl of water with the intention of doing a watercolor study. What I saw astonished me. The photographs showed unexplainable images formed inside the water.  January 12 2014, I placed the bowl of water beside a book I was reading, «Extrême: Esthétiques de la limite dépassée» by Paul Ardenne, published by Flammarion.  The phenomena reached an unprecedented dimension as I observed an incredible breakthrough. I cannot tell you why water behaved the way it did beside this particular book, but in my exploration of the phenomena so far, it is this study that proved the most significant and clear. In those photographs we notice a precise correlation between the visual content of the book, the artists’ intentions, the author’s text and that which emerges inside the water. If the images were slightly polished to create art, they are nonetheless the authentic pictures the water reflected. I came to call my practice Emerge Art and produced a world premiere exhibition: EMERGE ART with the book «Extrême:Esthétiques de la limite dépassée» by Paul Ardenne / Flammarion: where, if you watch the virtual tour,  you will observe clusters of particles in water behaving outside all expected parameters defined by science so far. They are forming images that are meaningful to us and that reveal water's sentience.

In this crop the photos are screened.
The one on the left produced
Chiens Andalou, the one on
the right was taken 10 seconds later.
You can see the particles forming
the larger dog becoming disengaged
while the central dog appears
to have turned its head.
Photo Lena Ghio

Using the same logic as CERN “…to find evidence of «particles behaving in a way» that can only exist if extra dimensions are real.” we must consider the possibility that Emerge Art is photography of an extra dimension. Science has documented endless examples of water activity at the molecular level, at the ecological level, at the chemical level. There are too many articles to site. Dr. Masaru Emoto has documented that water particles react to words, to their environment, but he has not documented what Emerge Art has, water particles forming complex images that look human-made, that have human concerns, some that evolve like storyboards, others of people who have past on.

What I observe while photographing water in a bowl  “talking to me” resembles what the San Diego and Emery Universities research teams describe: «… the unique properties of water are due to its capability of forming a highly flexible but still dense hydrogen bond network which adapts according to the surrounding environment …the different isomers of water hexamer  (smallest cluster of water) … assemble into various configurations called “Cage”, “Prism”, and “Book”.»

From the excellent article Reactive Oxygen Species (ROS), Water, Photons, and Life[3] by Vladimir Voeikov: «…water, in which all the most interesting processes involving ROS proceed, plays the crucial role in their emergence and organization of the processes in which they are involved…processes with ROS participation tend to self-organize and maintain particular temporal structures, defining the temporal structure of other processes which may develop in relation to them. » This article underlines the importance of relationships and structures at the moment life on Earth began. I submit that life is an extra dimension, that the four dimensions we use to navigate in our world are human constructs and that there are infinite dimensions around us.

Two articles written by MIT Professor Robert L. Jaffe[4] enlightened phenomena I had been observing about how time and space operate to create complex events.  In his articles he reminds us that life can only exist at the time of celestial mechanics, the time created by the motions of celestial bodies, the rotation of the Earth on its axis, the orbit of the Moon around the Earth, the orbit of the Earth around the Sun and the cycles of evolution they engender. At this level of time, gravity rules to slow down the pace of the electro-magnetic force enough to allow lifetimes to unfold. Today’s clocks, and most technology are based on the speed of light constant. We have built modern culture on that time frame. But we must not forget the time of celestial mechanics without which our lives could not occur. In professor Jaffe’s articles he details the spin speed of different particles of varying magnitudes[5]. In our solar system, each celestial body has a unique shape, a unique rotational speed, a unique orbital speed and a unique complex cycle of relationship with the other celestial bodies. Examples of relationships: the Earth and the Moon, The Moons around Saturn and Saturn, all the planets to the Sun. The structure of our solar system is constantly fluctuating due to the circular motions of all its inhabitants and the endless relationships they fashion with one another in the form of geometric alignments. From this perspective endless dimensions open up.

The central dog is screened more so
details become evident.
Photo Lena Ghio

I submit that gravity helps particles form structures and relationships at the quantum level in a way similar to its operations in our solar system: as particles spin, they form geometrical alignments to one another that in turn give rise to new structures and relationships. This would mean that Einstein’s Theory of General Relativity would operate at the quantum level. From this perspective endless dimensions open up.

In previous scientific articles I have written I have put to the test my equation for the unified field theory and each time my predictions came true. This equation is:

E  = MC squared / G + RF  = T + S

Energy and Time as the speed of light constant (E), = Mass (MC squared) divided by Gravity (G) + all circular motions: Orbits, Rotations, Spins, Cycles and Directions: (RF) = Time: the time of celestial mechanics:  (T),  + Space: any conceivable coordinate in the universe on objects, inside objects, between objects: (S).

Gravity (G) bends light and affects Time (E); Gravity (G) clumps particles and forms mass (MC squared). Masses become gyratory (+ or -) objects that form geometrical alignments, structures, and relationships to other gyratory objects under this Rotating Force (RF). This produces the Time (T) of celestial mechanics and the Space (S) on and between objects that can be mapped as coordinates.

This equation preserves the classical theories of gravity that allow us to calculate the motions of the planets while integrating gravity’s function at the quantum level. It also preserves the theory of Special Relativity as it is contained in the E of the equation. It reveals a facet of gravity’s actions with particles that will link Emerge Art to the Theory of Extra Dimensions. In Robert Jaffe’s articles he describes that gravity’s weakness is just perfect to allow us life. At the quantum level, gravity appears weak, but gravity bends light. If it would be any stronger at the quantum level, it could not allow the evolution of life as particles that form living tissue would be crushed. As Professor Jaffe says, gravity is just the right strength to permit life.

To illustrate how Gravity works at both the microscopic and macroscopic level with the proposed equation I will use the analogy of someone knitting a scarf. In this comparison imagine that G is the two knitting needles, E=MC squared is the wool, the hands doing the knitting is RF. T+S begin at the Big Bang, as the first stitch of the scarf is made, and the knitting expands inventing endless worlds of endless magnitudes and endless time scales. The hands (RF) put the needles (G) in motion. The needles propelled into action by the hands form stitches of all sizes, from the microscopic to the macroscopic, with the wool. The result is a unified field.

The dark images on the bottom are
the two original images. To capture
the emerging form in the water I
need to take the shot without
a flash.

To illustrate the equation as a tool for making a prediction in an experiment to prove gravity waves acting on particles, I will use the analogy of a bus trip. Scientists like Stephen Hawking have said that it is impossible to make accurate predictions at the quantum level because one would need to know the point of origin of each particle involved in the experiment. I submit that by engaging G + RF at a precise moment of T and point of S you can make an accurate prediction that involves the behavior of particles as they interact with G. Imagine: E = MC squared are passengers (particles) meeting at noon in Montreal, T + S, where the bus represents G, the bus driver represents RF, and reaching New York is the object of the experiment. Contrary to the view that the exact origin of every particle must be known in order to make an accurate prediction, this analogy uses the meeting T + S as the new point of origin, like it was done in the previous analogy where T + S begins at the Big Bang, to mark a common point of origin for all the particles regardless of their past points of origin. As they are swept up by G and RF, E = MC squared form a whole new structure and relationship that will maintain its cohesiveness until New York is reached, T + S. Experiments with this equation to demonstrate the actions of G on particles will succeed faster if the particles are from living substances rather than inert substances. Particles from inert substances do not have the reactive speed of living substances so the action of gravity on the particles will be lengthier plus we have not even begun to investigate the language of gravity that would inform us of its probable action on particles. Living substances on earth all contain vast amounts of water that has been shown to react to stimuli on many dimensions.

The two analogies illustrate how the equation proposed here can open a way to access extra dimensions in a unified field. The element water is a multidimensional entity. It is hard for us to wrap our brains around water’s sentience because it is more convenient for us to treat it as an object. In Emerge Art we are witnessing clusters of particles that move intentionally to form images using a manner described by scientists doing experiments on water particles. Emerge Art goes to an extra dimension where water reacts with a rich visual language. This is not a belief, an hypothesis, a myth, Emerge Art is evidence. It even sparks the imagination to the possibility of developing a language with water. Water is willful, autonomous, intelligent, and highly sensitive and even though it can be contained, it is boundless.

-LENA GHIO

Virtual Visit of World Premiere Emerge Art

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[1] http://ucsdnews.ucsd.edu/pressrelease/researchers_reveal_behaviors_of_the_tiniest_water_droplets1

[2] http://home.web.cern.ch/about/physics/extra-dimensions-gravitons-and-tiny-black-holes

[3] http://gdv.reimei.tv/pdf2.pdf

[4] http://web.mit.edu/physics/people/faculty/jaffe_robert.html

[5] http://www.naturalhistorymag.com/htmlsite/master.html?http://www.naturalhistorymag.com/htmlsite/1106/1106_feature2.html   Visit the link from the article to 'As Time Goes By'  for visuals of  time scales that are mind blowing.

Last Word:

The equation proposed in this article is limitless so Dark Matter, Dark Energy, the Higgs Boson, even strings can be accounted for by using it. If strings are real, they can be found using the equation. The equation supports two forms of time as outlined by Professor Robert L. Jaffe. In the form of the time of celestial mechanics, the dimensions of time are endless due to endless RF velocities and directions, whereas in the form of  time at the speed of light constant it is limited to its velocity. The fact we measure time using the speed of light constant from our perspective is not equal to the effects of time at the celestial mechanic level.

Contemporary physics has rejected the possibility that "intelligence" exists in any other form than the human form. The behavior of water suggests otherwise and the ramifications of this truth will be life changing at all levels of our human existence. Emerge Art IS evidence and must be viewed as a reality. Lucky for us all that science operates in many disciplines.

Archaeology and The Digital: Media and Machines / Archéologie du numérique: Environnements virtuels, objets interactifs

The CCA presents an intriguing second part exhibition on the project began last May (2013) : Archeology of the Digital. This time we are taken through the work processes of several renowned architectural firms and architects: Asymptote Architecture ( HANI RASHID and LISE ANNE COUTURE ) for their work on the New York Stock Exchange (NYSE): Pavilion H20eXPO by NOX (LARS SPUYBROEK): X Phylum (1997-1998) and Catastrophe Machine (1994-1998) by KARL CHU: Pannel by Objectile (1995-2013) by Objectile SARL (BERNARD CACHE and PATRICK BEAUCÉ): HypoSurface (1997-today) by dECOi Architects (MARK GOULTHORPE): and NSA Muscle (2003-2004) by ONL (OOSTERHUIS_LÉNARD): to see how they can bring forth innovations by using technology.

We get inside intricate work processes from plan to full functioning space where the architects explore all the possibilities of their concepts with computer technology: how to integrate the digital in various environments for different functions and then go a step beyond to introduce virtual dimensions.I found it intriguing that scientists from many discipline were inspired by architects and how they began using computers to work out concepts. Recently I have been pondering the question of extra dimensions studied by physicists. When GREG LYNN,  Chief Curator of the ongoing project,  spoke of physicists being inspired by architects to use computers to envision their scientific musings, I asked him about the concept of extra dimensions. The project Pavilion H20eXPO by NOX (LARS SPUYBROEK) is an example of architects creating form beyond the 3 dimensions of space normally used to fashion buildings. Also we were told by Lars Spuybroek that the virtual buildings that emerge when people visit the site are designed by forces: electricity, gravity: that manifest either by new digital input provided by the visitor or as a reaction to his behavior on the site. Greg Lynn added "In that example, the architects do not use the normal x,y,z of 3 dimensional space but use two points in space to form vectors to allow them to bring inconceivable designs into physical form."

Giovanna Borasi & Greg Lynn
photo Lena Ghio

Every project details an extraordinary exploration of how to make a vision a reality by using digital media. I encourage you to visit the bookstore that offers unique books that are associated with whatever exhibition is ongoing.

Other news from the CCA,  PHYLLIS LAMBERT, (CC, GOQ, CAL, FRAIC, FRSC, Hon FRIBA, Hon FAIA, FSAH, LL D), architect, Founding Director and Chair of the Board of Trustees of the CCA, will be  honored with a Golden Lion for lifetime achievement at the Venise Architecture Biennale this June 7th, and GIOVANNA BORASI has been named Curator in Chief after working for many years in tandem with MIRKO ZARDINI, Director of the CCA.

Until October 5 2014

FRANÇAIS

Le  CCA présente une intrigante seconde partie au projet initié en may 2013: Archéologie du numérique. Cette fois-ci on nous transporte encore plus profondément dans les processus créateurs de firmes d'architectes et d'architectes de renommés: Asymptote Architecture ( HANI RASHID and LISE ANNE COUTURE ) pour leur travail sur le New York Stock Exchange (NYSE): Pavilion H20eXPO par NOX (LARS SPUYBROEK): X Phylum (1997-1998) et Catastrophe Machine (1994-1998) par KARL CHU: Pannel by Objectile (1995-2013) par Objectile SARL (BERNARD CACHE et PATRICK BEAUCÉ): HypoSurface (1997-today) by dECOi Architects (MARK GOULTHORPE): et NSA Muscle (2003-2004) par ONL (OOSTERHUIS_LÉNARD): pour voir comment ils matérialisent leurs innovations en utilisant les nouvelles technologies.

On entre à l'intérieur de procédés de travail complexes depuis la conception d'un plan jusqu'à l'élaboration d'espaces complètement fonctionnels où les architectes explorent toutes les possibilités de leurs concepts avec la technologie et pour la technologie, pour aller encore plus loin en développant des espaces virtuelles. J'ai trouvé cela intrigant que les scientifiques de plusieurs disciplines furent inspirés par la manière dont les architectes se servaient de la technologie virtuelle pour étudiés leurs concepts. Récemment je réfléchis à la problématique des théories supplémentaires étudiée par les physicistes. Quand GREG LYNN, commissaire en chef de cette série, a parlé que les physicistes étaient inspirés par l'usage des ordinateurs que faisaient les architectes pour explorer leurs idées, je lui ai demandé ce qu'il pensait de la théorie des dimensions supplémentaires. Le projet Pavilion H20eXPO par NOX (LARS SPUYBROEK) est un exemple d'architectes qui ont crée une forme au delà des 3 dimensions d'espaces avec lesquelles la majorités des bâtiments sont érigés. Aussi Lars Spuybroek nous a dit que les édifices virtuels qui émergent lors des visites du publique sont  concues avec les forces de la nature telles l'électricité et la gravité, qui se manifestent soit par une programmation digitale faite par les visiteurs ou soit comme réaction aux agissements de ceux-ci dans le site. Greg Lynn a ajouté "Dans cet exemple, les architectes ne se servent pas des points normaux x, y, z des 3 dimensions d'espace mais se serviront de deux points pour former des vecteurs qui permettront de matérialiser toutes sortes de plans inconcevables."

photo Lena Ghio

Chaque projet détaille une exploration extraordinaire de comment rendre réel une vision en se servant des médias numériques. Je vous encourage à visiter la librairie qui propose des livres génials qui sont associés aux expositions en cours.

D'autres nouvelles du CCA,  PHYLLIS LAMBERT, (CC, GOQ, CAL, FRAIC, FRSC, Hon FRIBA, Hon FAIA, FSAH, LL D), architecte, Fondatrice Responsable et Présidente  du Conseil d'Administration du CCA, sera honorée avec un lion d'or d'honneur couronnant l'oeuvre d'une vie lors de la 14e Biennale d'Architecture de Venise ce 7 juin, et GIOVANNA BORASI a été nommé conservatrice en chef après plusierus années de collaboration avec MIRKO ZARDINI, Directeur  du CCA.

Jusqu'au 5 octobre 2014

-LENA GHIO