On the night of July 28, 1994, after the Schirn Kunsthalle in
Frankfurt had closed for the night, a security guard was grabbed by a
masked man. A second man handcuffed him and bound his eyes with tape.
The thugs pushed him into a closet and warned him to keep quiet.
They took two paintings by J. M. W. Turner, Shade and Darkness—the Evening of the Deluge and Light and Color,
and a painting by Caspar David Friedrich. The Turners had been lent for
an exhibition by the Tate Gallery in London. The Friedrich belonged to
the Kunsthalle Hamburg.
Another guard who was unable to reach his colleague by radio set off
the gallery’s alarm. The thugs ran through the delivery entrance and
escaped in a stolen car.
The whole point of this article was to offer argument that offering rewards for stolen paintings may just encourage more thefts, because the thieves will then find a way to return the painting and collect a hefty reward. It has been happening in the past, and what is the point of stealing a painting you cannot popularly sell? I think the no reward idea would help deter would be thieves.
Art
Here is a picture of a drawing I have been working on quite some time, and I keep finding myself taking breaks from it. Its a...ship.
So when the slits are not being observed, and one particle at a time is
fired at them, in this case an elektron, you get counter intuitive
results.
An interference pattern is created, when this should not be possible,
since we are firing single particles, so they somehow form a wave, wich
is an
interference pattern.
This is known as Wave/Particle duality. A commonly known term, but it is
just a description of the phenomenon without a real explanation.
As the vid explains, the inescapable conclusion is that the single
particle is everywhere, goes through both slits and interferes with
itself. This is remarkable enough on its own.
So when they measure with slit the particle actually goes through, it
goes through only one of the slits, and the interference pattern is no
longer
there. You could say, that because of observing, the particle has to go through
one of the slits, because we are looking, the wich path information is
present. Because of our consciousness having acces to this this information, the wave of potential is destroyed.
This is were the skeptics come in. Now pay attention, cause this is the meat of this thread. Skeptics, to this day always claim that this is total BS, just look at
some of the comments on that YT vid, that's exactly what I mean. They say the interference pattern is not destroyed because of our
consciousness knowing the wich path info, but because of the physical
act of
measuring. Because of the interaction of the particle with the measuring device, the so called Observer Effect.
A painting by Leonardo da Vinci that was lost for centuries has been
authenticated by distinguished scholars in the United States and Europe
and will be exhibited at London’s National Gallery as part of a Leonardo
show that opens November 9, ARTnews has learned.
The painting, Salvator Mundi, or “Savior of the World,”
depicts Christ with his right hand raised in blessing and his left hand
holding a globe. It is painted in oil on a wood panel and measures 26 by
18 1/2 inches in size. “It’s up there with any artistic discovery of the last 100 years,” said one scholar.
The work is owned by a consortium of dealers, including Robert Simon,
a specialist in Old Masters in New York and Tuxedo Park, N.Y. It was
bought at an auction in the United States in 2005.
When ARTnews first broke the story of the discovery on June
22, Simon declined to comment about the painting, the price, or how it
was acquired. “I’ve been asked not to discuss it,” he said.
On July 8, Simon issued a news release through a public relations
company confirming the story. He stated that the study and examination
of the painting by a number of scholars “resulted in an unequivocal
consensus that the Salvator Mundi was painted by Leonardo da
Vinci, and that it is the single original painting from which the many
copies and versions depend. Individual opinions vary slightly in the
matter of dating. Most place the painting at the end of Leonardo’s
Milanese period in the late 1490s, contemporary with the completion of The Last Supper. Others believe it to be slightly later, painted in Florence (where Leonardo moved in 1500), contemporary with the Mona Lisa.”
My Art
This is a charcoal drawing of a lion. I used several reference images to complete this.
This project took several weeks to complete, custom making the sky, geometry that makes up the level, the textures. The first version was lost due to errors in the modeling of the level, that were not able to be fixed, so I had to recreate it from the beginning.
