So basically, transwitch Marina Abramovic (Michael Maxwell) sponsored Conrad Shawcross and Cunter under the pretext that they were both exhibiting work at her NYC gallery. Did she also help them get work Visas? Now, Shawcross may be a nepobaby but at least he's a legit artist. Cunter only got a pass because she was an Epstein honeypot hoe and fellow divine androgyne cultist. These people don't do anything for free though, so Cunter was promptly sent to the Hamptons to work with/for Harvey Weinstein. Uncle Harvey was BFFs with Jeffrey Epstein and Ghislaine Maxwell, remember? Meaning that Cunter connects to their trafficking ring 4X. Their upline manager Les Wexner is part of the Cleveland Mafia. He in turn has links to the Bronfmans up in Toronto, Cafritz' in DC and the Florida ratlines. Isn't it interesting how Cunter, Heard and Markle were all recruited by the same people? That explains why they use the same playbook, important because HCA owns Portland Hospital. Sara Latham is connected to both their VP and Killary who is a high-ranking witch. Sara Latham works in PR and even repped Markle for a time. It's an incestuous clusterfuck of epic proportions.

Conrad Shawcross Paradigm - B (Solid) 2018, Weathering steel 142 x 48 x 48 cm Edition of 3 plus 2 artist’s proofs

The Artist Conrad Shawcross at MICAS #art #shows-happening #inspirationa...

Art for auction in support of Ukrainian academy – in pictures Members of the Royal Academy of Arts (RA) in London including Tracey Emin, Antony Gormley and Conrad Shawcross have banded together with members of the National Academy of Arts of Ukraine (NAAU) such as Boris Mikhailov and Pavlo Makov, and international artists including Stephen Shore and Juergen Teller, to try to help save the NAAU. On 28 January, the RA will host a charity auction of donated works, in collaboration with the Natalia Cola Foundation, in support of the NAAU Continue reading... https://www.theguardian.com/world/gallery/2023/jan/26/art-for-auction-in-support-of-ukrainian-academy-in-pictures

Salamander, of the elemental variety

In terms of elemental forms it is a mistake to approach from a position of evolutionary taxonomy. As in all transitions from perpendicular realities, such creatures are born from and induce the mythological symbols that define their anatomy.

The concept manifests the symbol, the symbol communicates the concept, an oroboros of cause and effect that is no less existentially annoying for creating animals made of the idea of fire, which is so certain of itself it doesn't know that it shouldn't be able to burn your house down.

In practical terms, a salamander should be addressed in the same manner as a grease fire, by entrapping it in a fireproof metal vessel and blocking the oxygen flow. Without a source of oxygen, the creature will poof back to its native reality. Any major brand of charcoal briquette is adequate bait. Oily rags, old newspapers, and pre-1975 furniture will do in a pinch.

-Melinoë's Guide to Incursive Pests & Misidentified Phenomenon, 2005 edition.

Prompt and process under the fold.

Prompt: colorful smoke swirling off of a black background, in the style of fluid glass sculptures, light teal and orange, tangled forms, light red and blue, rendered in cinema4d, sculpture-based photography, distorted and elongated forms:: fullbody, a colorful smoke swirl with colorful lights on a dark background, in the style of fluid, glass-like sculptures, light cyan and orange, serge marshennikov, colorful layered forms, conrad shawcross, focus stacking, bold lines, bright colors:: a real Charmander, dinosaur with burning tail, salamander, dino-iguana, glowing flames, rocky terrain, sumatraism, lava tail, burning tail, background sharp earth, raptor, elegant pose, hawaii, outback, iguana, morning glow, stock photo, regal pose --ar 4:3 --s 50 --v 6.0

This prompt was made two autogenerated prompts I made from this image I made by blending smoke and glass textures with Midjourney's weird image prompting system:

The image also had image prompts, in this case, three different charmanders, two being experiments for a Harryhausen Pokemon "what if" pictorial set and one being a "real animal version" attempt:

And those are from multiple versions of MJ.

Eventually, resulting in this gen:

Which I composited with multiple other variants, rebuilt the claw and some other details, and then did color correction and processing.

What's this? The 2 millionth person who's "in" on Sophie's evil scheme???

So I guess, according to Gator and her Cadre, the person who posted this picture on her Instagram -

Photoshopped Sophie's wedding ring onto her hand!

Did someone else photoshop this one, then??

Because there's THE RING as clear as day!

And there it is AGAIN in a different shot!

Those certainly don't look PHOTOSHOPPED!

So what's up with THAT Gator?!?!

BTW: Sophie wasn't allowed to "tag along" to Venice because of Conrad Shawcross or anyone else. She AND BC are BOTH Ambassadors to the Platform Earth UK and have been for some time.

If they're going to criticize Sophie for being a part of Platform Earth, then the Haters should also include BC in all their criticism. But you won't ever see that because would go against their narrative.

Sophie is the EEEEEEVIL one, BC always has to be presented as the VICTIM (or when the Haters get occasionally frustrated by him - as a STUPID DUPE/FOOL).

Im anti-gator. But I was wondering about something. When they spoke about Sophie's new insta, I checked it out. It looks like '@conradshawcross' with 11.7k followers is following that Sophie account. How come? Isnt it her ex bf??? He doesnt seem to follow any other sophie related account. It looks like he's the real conrad. Im confused why he's following that account? (@sophieirenehunter).. Isnt it odd??

Either he doesn't know it's a troll or he does and he just wants to keep an eye on her. Or it's not the Conrad Shawcross. Sophie isn't on social media, it's a troll. What's odd is that there are people who think it's her when it clearly isn't.

Conrad Shawcross and wife Carolina

Quantum tornado provides gateway to understanding black holes

Scientists have for the first time created a giant quantum vortex to mimic a black hole in superfluid helium that has allowed them to see in greater detail how analogue black holes behave and interact with their surroundings.

Research led by the University of Nottingham, in collaboration with King’s College London and Newcastle University, have created a novel experimental platform: a quantum tornado. They have created a giant swirling vortex within superfluid helium that is chilled to the lowest possible temperatures. Through the observation of minute wave dynamics on the superfluid’s surface, the research team has shown that these quantum tornados mimic gravitational conditions near rotating black holes. The research has been published today in Nature.

Lead author of the paper, Dr Patrik Svancara from the School of Mathematical Sciences at the University of Nottingham explains: “Using superfluid helium has allowed us to study tiny surface waves in greater detail and accuracy than with our previous experiments in water. As the viscosity of superfluid helium is extremely small, we were able to meticulously investigate their interaction with the superfluid tornado and compare the findings with our own theoretical projections.”

The team constructed a bespoke cryogenic system capable of containing several litres of superfluid helium at temperatures lower than -271 °C. At this temperature liquid helium acquires unusual quantum properties. These properties typically hinder the formation of giant vortices in other quantum fluids like ultracold atomic gases or quantum fluids of light, this system demonstrates how the interface of superfluid helium acts as a stabilizing force for these objects. 

Dr Svancara continues: “Superfluid helium contains tiny objects called quantum vortices, which tend to spread apart from each other. In our set-up, we've managed to confine tens of thousands of these quanta in a compact object resembling a small tornado, achieving a vortex flow with record-breaking strength in the realm of quantum fluids.”

Researchers uncovered intriguing parallels between the vortex flow and the gravitational influence of black holes on the surrounding spacetime. This achievement opens new avenues for simulations of finite-temperature quantum field theories within the complex realm of curved spacetimes.

Professor Silke Weinfurtner, leading the work in the Black Hole Laboratory where this experiment was developed, highlights the significance of this work: “When we first observed clear signatures of black hole physics in our initial analogue experiment back in 2017, it was a breakthrough moment for understanding some of the bizarre phenomena that are often challenging, if not impossible, to study otherwise. Now, with our more sophisticated experiment, we have taken this research to the next level, which could eventually lead us to predict how quantum fields behave in curved spacetimes around astrophysical black holes.”

This groundbreaking research is funded by a £5 million grant from the Science Technology Facilities Council, distributed among teams at seven leading UK institutions, including the University of Nottingham, Newcastle University and King’s College London. The project has also been supported by both the UKRI Network grant on Quantum Simulators for Fundamental Physics and the Leverhulme Research Leaders Fellowship held by Professor Silke Weinfurtner.

The culmination of this research will be celebrated and creatively explored in an ambi exhibitiontitled Cosmic Titans at the Djanogly Gallery, Lakeside Arts, The University of Nottingham, from 25 January to 27 April 2025 (and touring to venues in the UK and overseas). The exhibition will comprise newly commissioned sculptures, installations, and immersive art works by leading artists including Conrad Shawcross RA that result from a series of innovative collaborations between artists and scientists facilitated by the ARTlab Nottingham. The exhibition will marry creative and theoretical inquiries into black holes and the birth of our Universe.

TOP IMAGE....Experimental set up in the lab used in the black hole research  Credit Leonardo Solidoro

LOWER IMAGE....Quantum Vortex in Superfluid helium experiment  Credit Leonardo Solidoro

CONRAD SHAWCROSS: In the Shadows Lie Eternity

Conrad Shawcross è il più̀ giovane membro della prestigiosa Royal Academy of Arts di Londra, nominato nel 2013

Exerpt from FILM+PLACE+ARCHITECTURE journal call for proposals

Good references for links between water, cartography and the built environment.

“From Gilles Deleuze’s notion of perceptual liquidity, to the films of Marguerite Duras, water shores up questions of form, materiality, and perception in film. In Isaac Julien’s immersive film installation Ten Thousand Waves (2010), water not only informs its oceanic images, but also the design of the filmic exhibition space. At the same time, in mediating bodies of water, film can draw our attention to their role in structuring urban, cultural, and geopolitical spaces. For instance, London’s radical regeneration of its waterways and waterfronts has been represented in a variety of films and art projects about different areas: the Docklands in Derek Jarman’s The Last of England (1987); the Lea River Valley in Conrad Shawcross’s Pre-Retroscope V (2008); and the Thames Estuary in Andrew Kötting’s Swandown (with Iain Sinclair, 2012). In Atlas of Emotion: Journeys in Art, Architecture, and Film, Giuliana Bruno traces the influence of such nautical and fluvial cartography on early cinema’s mapping of urban space - its representation of the city in motion.

In The Lottery of the Sea (2006) and The Forgotten Space (2010), Allan Sekula explores the maritime industry as basis of global capitalism, calling attention to the sea’s material forces of resistance. Today, the waters of the Mediterranean and the Channel form the backdrop to the migrant crisis, as powerfully evoked in Gianfranco Rosi’s Fire at Sea (2016). In Verena Paravel and Lucien Taylor’s Leviathan (2012), the ocean is a sensory cosmos where fish, water, and vessels meet in the fiercest of ways. The ecological crisis facing the world’s oceans – as well as other aquatic environments – points to the urgency in (re)thinking the human relationship to ponds, rivers, and seas.”

Conrad shawcross - ada

The Artist Conrad Shawcross at MICAS #art #shows-happening #inspirationa...

Paradigm by Conrad Shawcross (at The Francis Crick Institue) https://www.instagram.com/p/CkvCzIMIaZe/?igshid=NGJjMDIxMWI=

Julie Schenkelberg - TRANSMIGRATION

wood, plaster, fabric, paint, concrete, lighting. 25’x20’x25’—2016

Conrad Shawcross, -After the Explosion, Before the Collapse.

Building Dwelling Thinking - I idea