DIGITAL CAMERA REVIEWS SINGAPORE : REVIEWS SINGAPORE

DIGITAL CAMERA REVIEWS SINGAPORE : PSP CAMERA VIDEO : MONTREAL CAMERA STORES

Digital Camera Reviews Singapore


digital camera reviews singapore
    digital camera
  • a camera that encodes an image digitally and store it for later reproduction
  • A digital camera (also digicam or camera for short) is a camera that takes video or still photographs, or both, digitally by recording images via an electronic image sensor.
  • Usually captures images with the help of a CCD chip. The image data received is then saved to special memory cards or other storage media. (SmartMedia, xD-Picture Card,  Compact Flash,  Memory Stick,  SD Card,  MMC Card)
  • A camera that records and stores digital images
    singapore
  • a country in southeastern Asia on the island of Singapore; achieved independence from Malaysia in 1965
  • an island to the south of the Malay Peninsula
  • the capital of Singapore; one of the world's biggest ports
  • A country in Southeast Asia that consists of the island of Singapore (linked by a causeway to the southern tip of the Malay Peninsula) and about 54 smaller islands; pop. 4,353,000; capital, Singapore City; official languages, Malay, Chinese, Tamil, and English
    reviews
  • A critical appraisal of a book, play, movie, exhibition, etc., published in a newspaper or magazine
  • A periodical publication with critical articles on current events, the arts, etc
  • (review) reappraisal: a new appraisal or evaluation
  • (review) an essay or article that gives a critical evaluation (as of a book or play)
  • A formal assessment or examination of something with the possibility or intention of instituting change if necessary
  • (review) look at again; examine again; "let's review your situation"
digital camera reviews singapore - Ultrasound Flashcards
Ultrasound Flashcards ARDMS Abdomen Review for the boards with over 600 Flash Cards - For PC and Intel MAC
Ultrasound Flashcards ARDMS Abdomen Review for the boards with over 600 Flash Cards - For PC and Intel MAC
Ultrasound Flashcards is a great new way to study for the American Registry for Diagnostic Medical Sonography ARDMS) exams. The Ultrasound Flashcard program is a program that allows you to practice test questions on a computer to help you prepare for the ARDMS computerized examinations. Ultrasound Flashcards is one of the only computerized flashcards for ARDMS review available, and it was written by a Registered Diagnostic Medical Sonographer who has recently taken and passed the general boards. Ultrasound Flashcards is easy to use. The program allows you to create your own questions and allows you to print out your flashcards if you'd like a hard copy. It also allows you to separate out missed questions so that you can go back and review the missed questions more easily. The Program includes both detailed and general questions that are on the ARDMS registries. The material is based on the ARDMS outlines of material that could appear on the examinations. This program contains 618 Abdomen Questions Please download our demo at http://www.ultrasoundflashcards.com/Ultrasound-flashcard-downloads.html.

78% (12)
Face Value, oil on canvas, 200x280cm,2009
Face Value, oil on canvas, 200x280cm,2009
Sumiantara’s Paintings: Portable Art World There are a lot of distracted faces present together; each is fenced by framelike border. That is the depiction in the paintings of Agus Sumiantara—or known as Kacrut. The images of faces are distracted thanks to the refraction effect from the glass block. Almost all of the face images present by Kacrut are behind the glass block. In other words, there is always glass block wall between the spectators and the presented images. Kacrut is also recognized as an artist who intens¬¬ely working on glass block as subject matter. However, there is something different between the glass block and images showcased in this exhibition. Kacrut was prior to portray opaque character, not quite transparent, and blurring the objects behind. In this exhibition, Kacrut’s paintings present more translucent glass block so that the images behind are quite clear. Those are the images of adults’ faces, mostly Caucasian or Westerns. Kacrut is indeed changing his painting approach. Developing his paintings from computer software in his last solo exhibition, Kacrut uses more photos in this one. He works on realist paintings from self-made photos with the objects of glass block stacks and the artist’s portrait behind. He chooses transparent glass block with distracted face images because the refraction resulted are very different compare to the previous paintings, and closer to abstract paintings. It is safe to say that Kacrut’s paintings in this exhibition are more enriched with layers of meanings and representation. For those who are familiar with history, figures of modern and Western contemporary fine arts, it is not difficult to recognize the faces. Some of the most prominent ones are Picasso, Salvador Dali, Jackson Pollock, Basquiat and Frida Kahlo. What is the real meaning behind the distracted faces of Western artists that Kacrut tried to represent? Displaying well-known Western artists, Kacrut has at least trying to question the matters around existence, hegemony, and the effect of Western fine arts towards Indonesian modern and contemporary fine arts. The matter of how Western contemporary fine arts affect the global one is a latent problem. Even in the context of contemporary fine arts, Western’s hegemony and impacts are still lingering, not to say greater. It is easy for artists living in remotest part of the art world such as Indonesia to access books and journals of fine arts, thanks to the advanced technology to reproduce printing media and digital transmission from video and Internet. It is also eases the access to the development of both discourse and practices of most contemporary Western fine arts. It arises interesting situation. Such information access that is effortless and open are welcomed by various motives and interests. For few members of Indonesian artists, it is viewed as a method to understand more about the discourse, theory, and paradigm of most contemporary Western fine arts. As for some others, they would merely accessing visual representation of the latest printed and digital reproductions. For me, Kacrut’s artworks have given the opportunity to contemplate and to review the bargaining position of Indonesian’s contemporary fine arts in the eyes of the world. Like it or not, what is called by global and international fine arts mainly consists of Western pieces. Kacrut is aware about this matter. As an artist who finished his education in Fine Arts University, the history and theory of Western fine arts are not unfamiliar. Yet, there is wide gap between the syllabus of Indonesian curriculum in fine arts campus and the most recent development of global discourse and theory. Most of Indonesian artists who graduated from Fine Arts University feel as a part of world’s fine arts. It is caused by their value parameter that commonly based on theory, history, and discourse of Western fine arts. The matter is also based on the belief towards universalism of modern fine arts that could be applied beyond any borders of any countries. Ironic, because when the principles of formalism modernity have been long neglected by Western fine arts universities, non-Western countries are adopting such principles into the most important part of the curriculum in their campuses. For artists in Indonesia who graduated from university, the problem lies on the time they go out to the practice world of Indonesian fine arts—in which existence and infrastructure are very much different and left behind the ones of more advanced countries. On the other hands, the representation of global contemporary fine arts has been justified by inter-disciplinary theories that are difficult and complex. To this extent, even the artists who have graduated from university are, so to say, having minimum experience in relation with the history, theory, and the discourse of Western fine arts that have become a role of global fine arts. As for me, Kacrut’s artworks have precisely represent such matters. We are
Portable Art World, oil on canvas,180x280cm, 2009.
Portable Art World, oil on canvas,180x280cm, 2009.
Sumiantara’s Paintings: Portable Art World There are a lot of distracted faces present together; each is fenced by framelike border. That is the depiction in the paintings of Agus Sumiantara—or known as Kacrut. The images of faces are distracted thanks to the refraction effect from the glass block. Almost all of the face images present by Kacrut are behind the glass block. In other words, there is always glass block wall between the spectators and the presented images. Kacrut is also recognized as an artist who intens¬¬ely working on glass block as subject matter. However, there is something different between the glass block and images showcased in this exhibition. Kacrut was prior to portray opaque character, not quite transparent, and blurring the objects behind. In this exhibition, Kacrut’s paintings present more translucent glass block so that the images behind are quite clear. Those are the images of adults’ faces, mostly Caucasian or Westerns. Kacrut is indeed changing his painting approach. Developing his paintings from computer software in his last solo exhibition, Kacrut uses more photos in this one. He works on realist paintings from self-made photos with the objects of glass block stacks and the artist’s portrait behind. He chooses transparent glass block with distracted face images because the refraction resulted are very different compare to the previous paintings, and closer to abstract paintings. It is safe to say that Kacrut’s paintings in this exhibition are more enriched with layers of meanings and representation. For those who are familiar with history, figures of modern and Western contemporary fine arts, it is not difficult to recognize the faces. Some of the most prominent ones are Picasso, Salvador Dali, Jackson Pollock, Basquiat and Frida Kahlo. What is the real meaning behind the distracted faces of Western artists that Kacrut tried to represent? Displaying well-known Western artists, Kacrut has at least trying to question the matters around existence, hegemony, and the effect of Western fine arts towards Indonesian modern and contemporary fine arts. The matter of how Western contemporary fine arts affect the global one is a latent problem. Even in the context of contemporary fine arts, Western’s hegemony and impacts are still lingering, not to say greater. It is easy for artists living in remotest part of the art world such as Indonesia to access books and journals of fine arts, thanks to the advanced technology to reproduce printing media and digital transmission from video and Internet. It is also eases the access to the development of both discourse and practices of most contemporary Western fine arts. It arises interesting situation. Such information access that is effortless and open are welcomed by various motives and interests. For few members of Indonesian artists, it is viewed as a method to understand more about the discourse, theory, and paradigm of most contemporary Western fine arts. As for some others, they would merely accessing visual representation of the latest printed and digital reproductions. For me, Kacrut’s artworks have given the opportunity to contemplate and to review the bargaining position of Indonesian’s contemporary fine arts in the eyes of the world. Like it or not, what is called by global and international fine arts mainly consists of Western pieces. Kacrut is aware about this matter. As an artist who finished his education in Fine Arts University, the history and theory of Western fine arts are not unfamiliar. Yet, there is wide gap between the syllabus of Indonesian curriculum in fine arts campus and the most recent development of global discourse and theory. Most of Indonesian artists who graduated from Fine Arts University feel as a part of world’s fine arts. It is caused by their value parameter that commonly based on theory, history, and discourse of Western fine arts. The matter is also based on the belief towards universalism of modern fine arts that could be applied beyond any borders of any countries. Ironic, because when the principles of formalism modernity have been long neglected by Western fine arts universities, non-Western countries are adopting such principles into the most important part of the curriculum in their campuses. For artists in Indonesia who graduated from university, the problem lies on the time they go out to the practice world of Indonesian fine arts—in which existence and infrastructure are very much different and left behind the ones of more advanced countries. On the other hands, the representation of global contemporary fine arts has been justified by inter-disciplinary theories that are difficult and complex. To this extent, even the artists who have graduated from university are, so to say, having minimum experience in relation with the history, theory, and the discourse of Western fine arts that have become a role of global fine arts. As for me, Kacrut’s artworks have precisely represent such matters. We are

digital camera reviews singapore
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