Doris

Even After All is a series of photorealistic, 3D computer-generated landscape images. Sublime romantic paintings such as C.D. Friedrich's, architectural utopias from Étienne-Louis Boullée to Superstudio, the work of Japanese photographer Hiroshi Sugimoto or Land Art pioneers like Walter de Maria or Robert Smithson and the drawings of Reece Jones are all sources of inspiration, as well as my native Switzerland.

What would make me gasp more?

Work inspired by: Even After ALL by Nicolas K. Feldmeyer

Atlas of Places
Chiaroscuro I
2020

From Rembrandt I’ve learned how little light there is in man. The Rembrandtesque portrait exhausts all its light resources; there is no more light in it. Light itself seems to be the interior refraction of a light that dies somewhere, far away. Rembrandt’s chiaroscuro doesn’t derive from bringing clarity and darkness in close proximity but from the illusion of light and from the infinity of the shadow. From Rembrandt I’ve learned that the world is born out of the shadow…

Milan Adamčiak
Rotation I.
1966

My diagrams
(to help me understand and be aware of my surroundings)

C. D. Friedrich
Wanderer above the Sea of Fog
1818

Etienne-Louis Boullée
Cenotaph for Newton
1780-93

VAL
Heliopolis
1968-1974

Superstudio
The Continuous Monument
1969

Haus-Rucker-Co
Riesenbillard
1970s

Jonas Staal
Climate Propagandas, Video Study
2020

Gasping as an outcome of sublime.

Sublime as an artificially made feeling, that I can provide.

Sublime as an other knowledge in the new materialism.

Agency of mattter, that affect us.

INTERACTION.

Sublime as a body experience.

Gasping as a body experience.

Gasping as a rap song.

Connecting to my soul nerve.

Grounding.

The recipe of a radical openes.

Locate yourself in here and now.

Resmaa Menaken
My grandmother's hands

M. Nourbese Philip
The Ga(s)p

Paralinguistic respiration.

Each breath is a fragment of large breathing and breath of a universe.

Each gap and gasp carring the potencial a universe.

Resmaa Menaken
My grandmother's hands

Kant makes claim that objects in nature can be beautiful, but not sublime. This claim is manifested in the idea that the sublime can not be found in any sensible form, for it is the beautiful that is concerned with form. Kant explains that the sublime is an attribute of the mind and not of nature.

Burke then turns to his observations on the sublime. He asserts that ideas of pain are much more powerful than those of pleasure, and that the strongest pain of all is the fear of death, which causes terror. As such:

Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling.

Ľuboš Kotlár
2022

Beautiful
& Sublime:

awareness
/əˈwɛːnəs/

knowledge or perception of a situation or fact.

"we need to raise public awareness of the issue"

Similar:
consciousness
recognition
realization
cognizance
perception
apprehension
understanding
grasp
appreciation
acknowledge-ment
knowledge
sensitivity to
insight into
familiarity with
acquaintance with

Opposite:
ignorance

concern about and well-informed interest in a particular situation or development.
"a growing environmental awareness"

We are detached from nature.

Metaphors.

Sounds.

Song as primitive way of sharing information.

In slovak: TRADOVAŤ.

Critique of antropocene.