Barbara Kennedy

Brian Kennedy

A History & Description

Sydney and Suburbs

Look inside a thing to know its wonder. Just like snowflakes, no two dream catchers--or dreams--are alike. Stick out your tongue and catch one on the very tip of it. Lick it. Roll it around on your tongue. Awaken your palate. Then take a bigger bite. Worst case, you’ll spit it out. Most likely, you’ll be back. It may take a while. We tend to fight it; it hurts so good. Dreams are sometimes bitter, sometimes sweet. But like a rare single malt Scotch in a crystal tumbler, you acquire a taste for it. You will want more. You will be back. Guaranteed. Everything you need has already been given to you. All you need to add is a dream and shake. Look up. Reach out. Catch a dream, ride a wave. Worst case, you fall out of bed. This book is best when downloaded onto a tablet or device where you can play with the photographs and expand them in order to travel through them and view the precision inner workings of nature. "Ancient legend originates with the Grandmother Spider, who sang the universe into existence but was saddened by the dreams of children." Photography is a marriage of light, subject, and time. An image is frozen in time, in a particular light, at a fractional moment, through a particular lens, and viewed by you. Thus, you become part of the ecology of the image. As you own the emotion evoked by the image, the original energy that snapped the camera in the first place, is re-energized and lives on in the energy you give to it, as the image continues to sensate. –The Ecology of Photography

Expandable ePhotography

DREAM CATCHERS - Nature Meets Digital

KITCH & ARTE Contemporary Art & Infographics Created by Barbara Kennedy How something that oozes out of a thin aluminum tube and onto a primed flat white canvas can convince you of the presence of a three-dimensional world, this translucent paste that conveys the fragrances of pasture and ocean, forest and rain, was to me holy. And I wanted to affect that. I wanted to paint. To see light; to manipulate light; to share it with those who believe, and show it to those who do not. Pundits were hard at work convincing me that a mathematical equation or physical methodology (a logarithm) could produce the same work and, with just as much depth of execution and feeling. Yet, I have never viewed a computer-generated piece of art that evoked me to tears. My work had already crossed over the line that divided art and craft. I was into feeling it organically, not just looking at a scene, owning it, or trading it. Painting with the tip of my nose was not outside my stream of executions, or behaviors, a critic once observed. "ART IS (r)-EVOLUTION. EDUCATION IS A PROCESS."

Contemporary Art & Infographics

Kitch & Arte

IBM Redbooks

Leeann Ryder

IBM® public safety solutions bring a unified approach to public safety that fosters interagency collaboration and provides foundational data integration, visualization, and analysis tools that drive analytics and insights. Public safety solutions from IBM provide the optimum knowledge tools for modeling, assessing, and managing responses to the incidents and the people who pose danger. Public safety solutions from IBM include advanced capabilities that provide unified support for the critical missions of the law enforcement and emergency and incident management communities. This IBM RedguideTM publication describes the business value of IBM public safety solutions and the capabilities that include a flexible design that enables organizations to deploy the solution in phases according to their most pressing needs. This guide is intended as an introduction for public safety, law enforcement, and emergency management executives and professionals evaluating advanced software solutions for their organizations.

IBM Public Safety Solutions for a Safer Planet

Pastiche - A Brush with Foreign

Film theory has for so long been concerned with sociological, empirical and psychoanalytic approaches that its place within our aesthetic sensibilities seems to have been forgotten.Deleuze and Cinema aims to bring back debates about film as an art form - as part of an aesthetic process which incorporates the 'bodies' of our material, technological and molecular worlds. While much film theory has looked at desire in terms of (visual and spectator) pleasure, Barbara Kennedy suggests, in this provocative new study, that these different perceptions of 'body' are responsible, as well as the brain/mind, for the ways in which visual elements of colour, movement, rhythm and sensation are acquired within, through and beyond our consciousness.Film is visceral, vital and dynamic, and wider frameworks of understanding are needed to explain these aesthetic resonances. Deleuze and Cinema asks: how can we begin to understand the cinematic experience as one of material capture, processuality and movement - as opposed to a spectator/text relationship - where desire and pleasure are part of a complex 'aesthetics of sensation'?Through discussions of Orlando, The English Patient, Romeo and Juliet, Strange Days and Leon the book offers a new and creative collusion between Deleuzian philosophy - specifically Deleuze's ideas about desire, pleasure, sensation, affect and 'becoming-woman' - and contemporary film studies.

The Aesthetics of Sensation

Deleuze and Cinema

This book chronicles how successive generations of natural philosophers, geologists and geomorphologists have come to invent the view of the Earth over the past 250 years. Chronicles how successive generations of natural philosophers, geologists and geomorphologists have come to invent different views of the Earth over the last 250 years. Uses as its central viewpoint changing ideas about the significance of the action of rain and rivers on the Earth’s surface. Shows how our contemporary “truths” have come to be accepted and exposes the frailty of even the most impeccably scientific visions of the Earth.

Ideas on Landscape Development Since 1740

Inventing the Earth

"Line Dancing is drawing to Music" I closed my eyes and played vinyl LPs on a record player and the ink simply poured from my pen. It was the summer of 1978. I had just returned from Paris and my head was filled with fashion and glamor, strolls along the Avenue de Champs-Elysees, the most famous street in the world, it means the "Elysian Fields," which indicates that someone thought this street was heaven on earth, and just like the Eiffel Tower and the Arc de Triomphe, all symbols of Paris. The Seine was a colorful array of boats and ferries along the Left Bank with its art galleries and art supply stores. I was travelling with fellow designers, all graduates of The Fashion Institute of Technology in Manhattan. We were drunk on champagne from fashion week, and exhausted, so we flew to Nice on the French Riviera where Princess Grace hosted a lavish wedding for her oldest daughter, Princess Caroline's first marriage. The royalty of Europe was in attendance in their bustling skirts and jeweled tiaras. The sparkling Mediterranean Sea was a proverbial traffic jam with yachts from all over the world, and small planes hovered above before landing on a very small airstrip. They have all come to celebrate, the rich and famous and Monarchy. And, of course, to meet some young and pretty unchaperoned American girls on holiday. When I returned home to my beach cottage on Long Island, I designed my boutique, Ruby Stars, Objets d'Art, Accessories & Apparel, in posh Locust Valley. It was here that I created these drawings, which lay in a gift box from Saks Fifth Avenue decomposing under my bed for more than 40 years. When I reflect on my life, I know with no uncertainty that, with a smile on my face to rival Hirschfeld's Carol Channing, I am the luckiest girl alive. Dedicated to Al Hirschfeld (1903-2003) They call him "The Line King" and if you knew him, which I did briefly, you also knew NINA, his daughter. He drew Broadway with his pen. He entertained millions. And he touched me. Occasionally, I can see something, a hand, a foot, a look, a face, that is, to my eye, his hand on mine. I am ever grateful "Listen to the music, close your eyes, and draw what you hear."

Barbara Kennedy

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