December 31, 2008
My first embodied experience of mountains was in the mid-eighties in France and it left me speechless. We have been living within viewing range of the spectacular Rocky Mountains for over a year now and I am still in awe at the visual phenomenon of recognizing geographical formations with the naked eye, that are hundreds of kilometers away. I was born and grew up on Prince Edward Island where we had rolling hills, fields, harbours, and magnificent ocean views, but no vistas or panoramas that could cover this scale. For reasons I do not understand I have always needed to place my visual world in measurable perspectives and have even learned to map waves and spherical objects in order to draw and paint them with more accuracy.This is one of the many Google maps I am working on as part of this project and others. From Calgary’s Crowfoot Public Library Lookout I have added lines to mountain peaks visible to the naked eye in ideal light. These lines indicate the distance. Each peak marker has additional information about the peaks including height in meters. I am hoping to eventually include ranges, subranges and regions as well as brief summaries on the history of naming, etc. (For now I rely heavily on bivouac.com, peakfinders, wikipedia as well as travel, history, geography and photography books). Information panels in national, provincial and municipal parks also provide some information. I am beginning to create and upload to my Picasa albums, icons (resolution 72 dpi, 65 pixels x 65 pixels) from my own digital photos for each peak.
I am struggling with Google Earth as I have overloaded my .kmz files.
Picasa allows me to tag my individual digital images and to place them in digital albums while maintaining separate albums on my PC to enhance findability. Semantic tools used on the Internet are developed on PCs too.
In order to paint the Rockies I wanted to first know where they were in relation to my easel. I don’t know why but I really want to know names of things including their historical and scientific names. Geological formations fascinate me as much as the history of the First Nations whose trails became our highways. I wanted to know exactly where I was and where they are with locational indicators. I wanted to know their height and how they were linked to neighbouring peaks. We became chasers of the light, watching Calgary skies for the best conditions for capturing images of the Rockies. We searched out the best sites for viewing the mountains from here and returned to them often. Most of our pictures were not that great from a photographic or aesthetic point of view. But bit by bit we were able to see more peaks clearly and identify them.
I began to take 180 degree pans even when the light was not great if at least some of the peaks were more visible.
We drove and hiked closer to the peaks as much as we could and continue to do so looking for more vistas and slightly different angles.
Using online and print sources piece by piece small sections came together.
I began to trace the contours of the peaks skyline so I could more clearly see which peaks were farther west, which were closer to us.
I used both Google Earth and Google’s My Maps features to geotag and tag exact peaks. Then I created lines between the peaks and the site from which I was taking photos so I could visualize compass directions.
I used the various mountaineering sites like bivuoac.com to study maps, to learn the language, to situate peaks within ranges, regions and subranges. I gathered descriptive information.
In Picasa I can geotag and label my photos and I have started uploading some of them to my Picasa album.
Using Adobe PhotoShop Creative Suite I create digitage (collages of digital images using .psd layer options) and I add text fields to label peaks and other features that help situate them.
I upload, tag and geotag some of these labeled images to Flickr but I have been disappointed by the low resolution in my free account.
Recently I have begun to upload higher resolution images to my wordpress accounts, including this one.
A group of savvy semantic web experts have created programs to autogenerate similar images! They describe how they align real photos with a synthetic panorama. I guess that is what I have been doing manually. See Technologies of Vision: semantic image labelling, Marmota: Visual Environmental Monitoring. Recently I received this delightful email from one of the researchers-collaborators:
Dear Maureen, I saw your picture and I think it is very related to the mountain labelling tool I’m working on: http://tev.fbk.eu/marmota (as a demo, please look at the photoblog). Can you describe the context of the Peaks’ Project? You are also welcome to add your photos to the flickr group labelledmountains Merry Christmas from Italy, michele
I thought it would be an appropriate time for me to contextualize my own slow world process involved in my “Naming the Peaks Project.”
Webliography and Bibliography
April 7, 2008
Slow World Background 1440 x 900 res: 300One bud is slowly opening into an apple blossom on a cut branch in a large blue glass vase. I had clipped them in March so I could insert the fast-foward spring green into the acrylic painting I am working on in my living room.
The urgent need to nurture the slow world is heightened after reading the NYT article on the health risk to bloggers who race against time.
April 5, 2008
I was first introduced to the work of Xianfeng David Gu’s mesmerizing Escher-like visualizations of Computational Conformal Geometry on the jacket design of Spiro, George G. Spiro’s inspiring publication entitled Poincare’s Prize: The Hundred-Year Quest to Solve One of Math’s Greatest Puzzles (2007). It was his visualization of holomorphic (differentials) forms on the surface of a teapot that immediately caught my attention. (I had borrowed the book from the public library because of my fascination with Perelman’s story).
My interest in surface reflections hidden in larger paintings developed into renditions of the reflections, particularly on spherical surfaces, encouraged in part by M. C. Escher’s iconic self-portrait.
In 1999 I began a series entitled Blue teapot where I emphasized the white visual noise/pattern on the highly reflective sephrical surface of a shiny (blue) sphere. Intuitively using laws of perspective I sought the diverse and elusive vanishing points of the spaces behind me, above me and below me as well as the more obvious space defined by Renaissance linear perspective in front of me. I was conscious of the inability of the author/artist/subject to eliminate the presence of the embodied self from the centre of these spheres.
I’ve incorporated this into different paintings since then sometimes creating a self-reflexive miniaturized mise-en-abyme effect.
Webliography and Bibliography
Gu, Xianfeng David. 2006. “Riemann Uniformization using Ricci Flow Method.” http://www.cise.ufl.edu/~gu/tutorial/Ricci_Report.pdf
Gu, Xianfeng David. 2006. “Computational Conformal Geometry Lecture Notes: Topology, Differential Geometry, Complex Analysis” http://www.cise.ufl.edu/~gu/tutorial/ComputationalConformalGeometry.pdf
Gu, Xianfeng David. 2006. “Isothermal Coordinates.” in PowerPoint “Computational Conformal Geometry Lecture Notes: Topology, Differential Geometry, Complex Analysis” http://www.cise.ufl.edu/~gu/tutorial/ComputationalConformalGeometry.pdf
Gu, Xianfeng David. 2006. “Figure 19: Holomorphic 1-forms on surfaces.” in PowerPoint “Computational Conformal Geometry Lecture Notes: Topology, Differential Geometry, Complex Analysis” http://www.cise.ufl.edu/~gu/tutorial/ComputationalConformalGeometry.pdf
Spiro, George G. 2007. Poincare’s Prize: The Hundred-Year Quest to Solve One of Math’s Greatest Puzzles. New York: Dutton/Penguin.
April 1, 2008
Measuring and mapping the mind, soul and spirit by using mathematics with music, numerical codes on virtual palettes for colours . . .
Iqaluit sunset “#F2D895″ | Iqaluit sunset “#B58D67″| Iqaluit sunset “#FFF6BF” | Iqaluit sunset “#DDA887″ | Iqaluit sunset “#BAA295″ | Iqaluit sunset “#FBE8C0″ | Iqaluit sky at dusk “#4B4D65″ | Iqaluit sky at dusk”#525B7B” | Iqaluit sky at dusk”#545B75″ | “#B7A47C” | Iqaluit sky at dusk “#2B3454″ | “#336699″ |
Bell Lake reflections” #626C61″ | “#666666″ | “#666699″ | Iqaluit Rockface “#B1A08F” | Iqaluit Rockface “#AE8C8C” |
Iqaluit Rockface “#67606F” | Iqaluit Rockface “#DCB9B5″ | Iqaluit Rockface “#D5B4B1″ | Iqaluit Rockface “#EFD3D6″ | Iqaluit Rockface lichen “#9FAD97″ | Iqaluit Rockface lichen”#577155″ | Iqaluit Rockface lichen “#97A493″ | Baffin aerial tundra “#49465B” | Baffin aerial tundra “#C7BDCF” | Baffin aerial tundra “#616079″ | Baffin blue sky “#A8B8DA” | Baffin blue sky “#246AD5″ | Baffin blue sky “#5D7DB3″ | Baffin blue sky “#82ABD5″ | Baffin blue sky “#558AE8″ | Baffin blue sky “#5392E5″ |
|Iqaluit sunset “#F2D895″||Iqaluit sunset “#B58D67″||Iqaluit sunset “#FFF6BF”|
|Iqaluit sunset “#DDA887″||Iqaluit sunset “#BAA295″||Iqaluit sunset “#FBE8C0″|
|Iqaluit sky at dusk “#4B4D65″||Iqaluit sky at dusk”#525B7B”||Iqaluit sky at dusk”#545B75″|
|“#B7A47C”||Iqaluit sky at dusk “#2B3454″||“#336699″|
|Bell Lake reflections” #626C61″||“#666666″||“#666699″|
|Iqaluit Rockface “#B1A08F”||Iqaluit Rockface “#AE8C8C”||Iqaluit Rockface “#67606F”|
|Iqaluit Rockface “#DCB9B5″||Iqaluit Rockface “#D5B4B1″||Iqaluit Rockface “#EFD3D6″|
|Iqaluit Rockface lichen “#9FAD97″||Iqaluit Rockface lichen”#577155″||Iqaluit Rockface lichen “#97A493″|
|Baffin aerial tundra “#49465B”||Baffin aerial tundra “#C7BDCF”||Baffin aerial tundra “#616079″|
|Baffin blue sky “#A8B8DA”||Baffin blue sky “#246AD5″||Baffin blue sky “#5D7DB3″|
|Baffin blue sky “#82ABD5″||Baffin blue sky “#558AE8″||Baffin blue sky “#5392E5″|
|Azure “F0FFFF”||Bisque “FFE4C4″||“FFCC99″|
|Blanched almond “FFEBCD”||Cornsilk “FFF8DC”||Eggshell “FCE6C9″|
|Floral white “FFFAF0″||Gainsboro “DCDCDC”||Ghost white “F8F8FF”|
|Honeydew “F0FFF0″||Ivory “FFFFF0″||Lavender “E6E6FA”|
|Lavender blush “FFF0F5″||Lemon chiffon “FFFACD”||Linen “FAF0E6″|
|Mint cream “F5FFFA”||Misty rose “FFE4E1″||Moccasin “FFE4B5″|
|Navajo white “FFDEAD”||Old lace “FDF5E6″||Papaya whip “FFEFD5″|
|Peach puff “FFDAB9″||Seashell “FFF5EE”||Snow “FFFAFA”|
|Thistle “D8BFD8″||Titanium white “FCFFF0″||Wheat “F5DEB3″|
|White “FFFFFF”||White smoke “F5F5F5″||Zinc white “FDF8FF”|
|Cold grey “808A87″||Dim grey “696969”||Grey “C0C0C0″|
|Light grey “D3D3D3″||Slate grey “708090”||Slate grey dark “2F4F4F”|
|Slate grey light “778899”||Warm grey “808069”||Black “000000”|
|Ivory black “292421”||Lamp black “2E473B”||Brick “9C661F”|
|Coral “FF7F50″||Coral light “F08080″||English red “D43D1A”|
|Firebrick “B22222″||Geranium lake “E31230″||Hot pink “FF69B4″|
|Indian red “B0171F”||Light salmon “FFA07A”||Madder lake deep “E32E30″|
|Maroon “B03060″||Pink “FFC0CB”||Pink light “FFB6C1″|
|Raspberry “872657”||Red “FF0000″||Rose madder “E33638″|
|Salmon “FA8072″||Tomato “FF6347″||Venetian red “D41A1F”|
|Beige “A39480″||Brown “802A2A”||Brown madder “DB2929″|
|Brown ochre “87421F”||Burlywood “DEB887″||Burnt sienna “8A360F”|
|Burnt umber “8A3324″||Chocolate “D2691E”||Deep ochre “733D1A”|
|Flesh “FF7D40″||Flesh ochre “FF5721″||Gold ochre “C77826″|
|Greenish umber “FF3D0D”||Khaki “F0E68C”||Khaki dark “BDB76B”|
|Light beige “F5F5DC”||Peru “CD853F”||Rosy brown “BC8F8F”|
|Raw sienna “C76114″||Raw umber “734A12″||Sepia “5E2612″|
|Sienna “A0522D”||Saddle brown “8B4513″||Sandy brown “F4A460″|
|Tan “D2B48C”||Van dyke brown “5E2605″||Cadmium orange “FF6103″|
|Cadmium red light “FF030D”||Carrot “ED9121″||Dark orange “FF8C00″|
|Mars orange “964514”||Mars yellow “E3701A”||Orange “FF8000″|
|Orange red “FF4500″||Yellow ochre “E38217″||Aureoline yellow “FFA824″|
|Banana “E3CF57″||Cadmium lemon “FFE303″||Cadmium yellow “FF9912″|
|Cadmium yellow light “FFB00F”||Gold “FFD700″||Goldenrod “DAA520″|
|Goldenrod dark “B8860B”||Goldenrod light “FAFAD2″||Goldenrod pale “EEE8AA”|
|Light goldenrod “EEDD82″||Melon “E3A869″||Naples yellow deep “FFA812″|
|Yellow “FFFF00″||Yellow light “FFFFE0″||Chartreuse “7FFF00″|
|Chrome oxide green “668014”||Cinnabar green “61B329″||Cobalt green “3D9140″|
|Emerald green “00C957″||Forest green “228B22″||Green “00FF00″|
|Green dark “006400”||Green pale “98FB98″||Green yellow “ADFF2F”|
|Lawn green “7CFC00″||Lime green “32CD32″||Mint “BDFCC9″|
|Olive “3B5E2B”||Olive drab “6B8E23″||Olive green dark “556B2F”|
|Permanent green “0AC92B”||Sap green “308014”||Sea green “2E8B57″|
|Sea green dark “8FBC8F”||Sea green medium “3CB371″||Sea green light “20B2AA”|
|Spring green “00FF7F”||Spring green medium “00FA9A”||Terre verte “385E0F”|
|Viridian light “6EFF70″||Yellow green “9ACD32″||Aquamarine “7FFFD4″|
|Aquamarine medium “66CDAA”||Cyan “00FFFF”||Cyan white “E0FFFF”|
|Turquoise “40E0D0″||Turquoise dark “00CED1″||Turquoise medium “48D1CC”|
|Turquoise pale “AFEEEE”||Alice blue “F0F8FF”||Blue “0000FF”|
|Blue light “ADD8E6″||Blue medium “0000CD”||Cadet “5F9EA0″|
|Cobalt “3D59AB”||Cornflower “6495ED”||Cerulean “05B8CC”|
|Dodger blue “1E90FF”||Indigo “082E54″||Manganese blue “03A89E”|
|Midnight blue “191970”||Navy “000080”||Peacock “33A1C9″|
|Powder blue “B0E0E6″||Royal blue “4169E1″||Slate blue “6A5ACD”|
|Slate blue dark “483D8B”||Slate blue light “8470FF”||Slate blue medium “7B68EE”|
|Sky blue “87CEEB”||Sky blue deep “00BFFF”||Sky blue light “87CEFA”|
|Steel blue “4682B4″||Steel blue light “B0C4DE”||Turquoise blue “00C78C”|
|Ultramarine “120A8F”||Blue violet “8A2BE2″||Cobalt violet deep “91219E”|
|Magenta “FF00FF”||Orchid “DA70D6″||Orchid dark “9932CC”|
|Orchid medium “BA55D3″||Permanent red violet “DB2645″||Plum “DDA0DD”|
|Purple “A020F0″||Purple medium “9370DB”||Ultramarine violet “5C246E”|
|Violet “8F5E99″||Violet dark “9400D3″||Violet red “D02090″|
|Violet red medium “C71585″||Violet red pale “DB7093″||Violet red medium “C71585″|