/// }|•\/-\!|\|/-\|•\|) ./// .山道 .горная тропа
Quote from CohentheWriter on 8. April 2022, 8:00Museum Link: https://app.museumofcryptoart.com/collection/the-permanent-collection?collection=0xb932a70a57673d89f4acffbe830e8ed7f75fb9e0&token=13449&page=1
Source Link:
https://superrare.com/artwork-v2/----%7D%7C%E2%80%A2----!%7C-%7C---%7C%E2%80%A2-%7C-.----.%E5%B1%B1%E9%81%93-.%D0%B3%D0%BE%D1%80%D0%BD%D0%B0%D1%8F-%D1%82%D1%80%D0%BE%D0%BF%D0%B0-13449
Date Minted: September 5, 2020
Artist Description: Walking along the alpine wilderness.. a beautiful wooden boardwalk leads me along my journey... Suddenly the sounds of nature stop. pure silence. followed by a deep chest rumbling vibration. I look up and see it. My heart races and my body swells with heat, I was able to get this picture while my nose began to bleed before I turned around and barley made it back out alive.
CohentheWriter’s Commentary:
The Tech World has a fetish for anticipation. And chief among its turn-ons is the impending (and impending…and impending) hegemony of Augmented Reality. Finally all the big companies will be able to overlay their apps and schedulers and browsers onto our reality itself, whether that be through a screen, through glasses, or through contact lenses, thus depriving us of even a second of relief from their onslaught of use-me notifications and dopamine surges. Silicon Valley scintillates at the possibility of their products (and ensuing advertisements) being taken anywhere. But they are unimaginative; they anticipate only the economic possibilities implied by AR, and have not stopped to consider the philosophical implications of their actions. They have not realized that AR, by overlaying a world on top of our world, effectively creates a second world, one hidden by technology, just as many centuries of fiction and fantasy have used magic to achieve the same end. Looking at /// }|•\/-\!|\|/-\|•\|) ./// .山道 . горная тропа, you сan sense that same magic, and the fascinating imaginations built when a world out of our perception (perhaps even out of our understanding) exists right before us, around us, on top of us, even if we can’t see it.
This kind of philosophical AR sculpturing is the MO of artist Eceertrey, who constructs bizarre, abstract 3-D sculptures and overlays them (sometimes with accompanying geo-tags) atop beautiful natural locations. Here, nature photography meets landscape portraiture meets abstraction meets bleeding-edge digital art. Eceertrey's sculptures dominate the landscapes they reside in, the lone unintelligible artifacts among familiar mountains, oceanic horizons, trees and grassland. горная тропа (gor-naya tro-pa), translatable from Russian as “mountain trail,” chooses an apparently-metal monstrosity as its abstract sculpture of choice, a bronzed-green convalescence of metallic bends and twists, sharp points and razor edges, spheres and rectangles and all manner of geometric anomalies, melded together as if pulled in from many ends of a scrapyard by some gravitational magnet. The sculpture itself is positioned at the image’s ideological center, making the many pine trees in the background —and even the wide blue sky— seem small, rote, uninspired by comparison.
Горная тропа relishes and relies upon this juxtaposition, that of the unfamiliar, the twisted, the weird-albeit-not-unappealing placed upon the traditionally beautiful, if standard, natural environment. Here, the sculpture rises up from nowhere; it doesn’t even touch the ground. It defies any attempt at realism, because it isn’t real. This type of thing cannot exist in our world, not with the way it flouts internal logic, gravity, rules of mass and weight distribution. It’s digitized. It doesn’t care for physics. It is not an attempt at mimesis. And its very lack of realness leads the entire image, background and faraway mountains and trees and all, to fall under its sway, to share the strange distinction of being of only partial reality.
Even if we were to remove the sculpture from the larger piece, it would still be quite pleasingly composed. The background, of a wooden trail among yellow grasses, is perfectly centered, with halcyon gradients of evergreen trees and sloping mountains, like two dueling musical scales drawn out beside each other. The sculpture, pasted onto the landscape, should theoretically destroy this harmony, since the sculpture is not only unbalanced and unnatural and bizarre, but because its central sizing threatens to distort the reality around it. But curiously, with our eye drawn towards its mass, the symmetricality and composition of the ulterior image is emphasized instead of reduced. The sculpture steals the hues which are found in the image behind it. In a way, it even reflects the landscape’s shape (though you may have to squint and turn your head to see how). One could say it is borne of the landscape, not something placed arbitrarily atop it, but which came from deep within it.
The sculpture itself, placed atop the real world, indelibly changes it. The natural world no longer exists on one level; it is permanently changed by the inclusion of the second layer of items, art, and expression on top of it. And there’s a significant power in that, in being able to fundamentally alter the world around us by imposing something atop it. Whether we can see a thing or not, that does not precipitate whether or not it exists. Spirituality, energies, auras; whether you believe in these things or not, to those that do, they are invisible but omnipresent, there even if we’re unaware, and similarly, горная тропа is now omnipresently upon this place in the world, wherever it may be.
Each of Eceertrey’s pieces has this same indelible effect upon a landscape. And with nearly fifty pieces, that means there are areas all over the world touched by his artistic influence, unbeknownst to uneducated onlookers or those traversing that land. This naturally opens a portal into a much larger consideration: Just how much exists in places we walk everyday, that we are nevertheless either too naive or too inept to observe? There may well be magic hiding in all the corners of the world around us, able to be seen by few, able to be conjured by still fewer. What will happen when we finally gain access to that second-layer world and go for a walk? How many wonders will we find on streetcorners and in front of billboards, on beaches and sidewalks and passing lanes, in supermarkets and atop mountains and in gently sloping glades, outside the influences of age, gravity, space and time, completely existing by their own logic? We may be able to deny it now, but when that time comes, we will have no choice but to confront our own fractional understandings of the world around us. Fret not, there’s a magic in unknowing. Believing we know everything, see everything, understand everything, that’s a pomp reserved for Media Moguls and politicians. Горная тропа encourages us against it. It tells us to go for a walk, and look around, and think about all the things we cannot see that are nevertheless floating atop us, suspended before us, directly in our path. There’s just no way of us knowing. That’s the point.
Source Link:
Date Minted: September 5, 2020
Artist Description: Walking along the alpine wilderness.. a beautiful wooden boardwalk leads me along my journey... Suddenly the sounds of nature stop. pure silence. followed by a deep chest rumbling vibration. I look up and see it. My heart races and my body swells with heat, I was able to get this picture while my nose began to bleed before I turned around and barley made it back out alive.
CohentheWriter’s Commentary:
The Tech World has a fetish for anticipation. And chief among its turn-ons is the impending (and impending…and impending) hegemony of Augmented Reality. Finally all the big companies will be able to overlay their apps and schedulers and browsers onto our reality itself, whether that be through a screen, through glasses, or through contact lenses, thus depriving us of even a second of relief from their onslaught of use-me notifications and dopamine surges. Silicon Valley scintillates at the possibility of their products (and ensuing advertisements) being taken anywhere. But they are unimaginative; they anticipate only the economic possibilities implied by AR, and have not stopped to consider the philosophical implications of their actions. They have not realized that AR, by overlaying a world on top of our world, effectively creates a second world, one hidden by technology, just as many centuries of fiction and fantasy have used magic to achieve the same end. Looking at /// }|•\/-\!|\|/-\|•\|) ./// .山道 . горная тропа, you сan sense that same magic, and the fascinating imaginations built when a world out of our perception (perhaps even out of our understanding) exists right before us, around us, on top of us, even if we can’t see it.
This kind of philosophical AR sculpturing is the MO of artist Eceertrey, who constructs bizarre, abstract 3-D sculptures and overlays them (sometimes with accompanying geo-tags) atop beautiful natural locations. Here, nature photography meets landscape portraiture meets abstraction meets bleeding-edge digital art. Eceertrey's sculptures dominate the landscapes they reside in, the lone unintelligible artifacts among familiar mountains, oceanic horizons, trees and grassland. горная тропа (gor-naya tro-pa), translatable from Russian as “mountain trail,” chooses an apparently-metal monstrosity as its abstract sculpture of choice, a bronzed-green convalescence of metallic bends and twists, sharp points and razor edges, spheres and rectangles and all manner of geometric anomalies, melded together as if pulled in from many ends of a scrapyard by some gravitational magnet. The sculpture itself is positioned at the image’s ideological center, making the many pine trees in the background —and even the wide blue sky— seem small, rote, uninspired by comparison.
Горная тропа relishes and relies upon this juxtaposition, that of the unfamiliar, the twisted, the weird-albeit-not-unappealing placed upon the traditionally beautiful, if standard, natural environment. Here, the sculpture rises up from nowhere; it doesn’t even touch the ground. It defies any attempt at realism, because it isn’t real. This type of thing cannot exist in our world, not with the way it flouts internal logic, gravity, rules of mass and weight distribution. It’s digitized. It doesn’t care for physics. It is not an attempt at mimesis. And its very lack of realness leads the entire image, background and faraway mountains and trees and all, to fall under its sway, to share the strange distinction of being of only partial reality.
Even if we were to remove the sculpture from the larger piece, it would still be quite pleasingly composed. The background, of a wooden trail among yellow grasses, is perfectly centered, with halcyon gradients of evergreen trees and sloping mountains, like two dueling musical scales drawn out beside each other. The sculpture, pasted onto the landscape, should theoretically destroy this harmony, since the sculpture is not only unbalanced and unnatural and bizarre, but because its central sizing threatens to distort the reality around it. But curiously, with our eye drawn towards its mass, the symmetricality and composition of the ulterior image is emphasized instead of reduced. The sculpture steals the hues which are found in the image behind it. In a way, it even reflects the landscape’s shape (though you may have to squint and turn your head to see how). One could say it is borne of the landscape, not something placed arbitrarily atop it, but which came from deep within it.
The sculpture itself, placed atop the real world, indelibly changes it. The natural world no longer exists on one level; it is permanently changed by the inclusion of the second layer of items, art, and expression on top of it. And there’s a significant power in that, in being able to fundamentally alter the world around us by imposing something atop it. Whether we can see a thing or not, that does not precipitate whether or not it exists. Spirituality, energies, auras; whether you believe in these things or not, to those that do, they are invisible but omnipresent, there even if we’re unaware, and similarly, горная тропа is now omnipresently upon this place in the world, wherever it may be.
Each of Eceertrey’s pieces has this same indelible effect upon a landscape. And with nearly fifty pieces, that means there are areas all over the world touched by his artistic influence, unbeknownst to uneducated onlookers or those traversing that land. This naturally opens a portal into a much larger consideration: Just how much exists in places we walk everyday, that we are nevertheless either too naive or too inept to observe? There may well be magic hiding in all the corners of the world around us, able to be seen by few, able to be conjured by still fewer. What will happen when we finally gain access to that second-layer world and go for a walk? How many wonders will we find on streetcorners and in front of billboards, on beaches and sidewalks and passing lanes, in supermarkets and atop mountains and in gently sloping glades, outside the influences of age, gravity, space and time, completely existing by their own logic? We may be able to deny it now, but when that time comes, we will have no choice but to confront our own fractional understandings of the world around us. Fret not, there’s a magic in unknowing. Believing we know everything, see everything, understand everything, that’s a pomp reserved for Media Moguls and politicians. Горная тропа encourages us against it. It tells us to go for a walk, and look around, and think about all the things we cannot see that are nevertheless floating atop us, suspended before us, directly in our path. There’s just no way of us knowing. That’s the point.