Elegance and craftsmanship are two words we love to use in the watch industry. But Grand Seiko’s SBGD202J, a watch in their Masterpiece collection, certainly deserves such praise. Its elegant and sophisticated design and excellent artistry certainly aren’t inexpensive, which is why we’ll cover it today.
SBGD202J Design
GS rarely underdelivers regarding aesthetics and design, and the SBGD202J is no exception. The 18k rose gold case, measuring a mighty 43mm, contrasts beautifully with its star-twinkling dial, adorned with a black background. It’s also only 13.2mm thick, allowing it to be worn gracefully.
The wristwatch is complemented by a lovely dark brown hue crocodile leather strap, which combines so well with the rose gold case that alternatives don’t seem feasible. It’s got a three-fold clasp with a push button release, making life easy for a daily wearer. Lastly, it weighs 150 grams, which is reasonable.
SBGD202J Movement
We won’t accept anything other than Spring Drive. Luckily, as expected, the watch includes Caliber 9R01, which has a manual winding mechanism with an impressive accuracy of about 10+ seconds per month. It has a generous 192 power reserve, so it’s still fun to wear regularly.
Final Thoughts
Coughing up £47,300 isn’t easy even for avid collectors or big-time fanatics of Grand Seiko. Yet, for some reason, this timepiece pulls you in so strongly that you have to have it. It feels timeless. There are certainly alternatives like the A. Lange & Söhne Saxonia or the Patek Philippe 5227G Calatrava, but none of them quite hit it like this one when it comes to the unique charm it exudes.
Public art installations and cultural spaces are functioning sites for immense artistic expression and are the cultural narrative of a people. Unfortunately, such artistic and cultural expressions lose the desired impact if cleanliness and safety are not prioritized. This discussion post will first explore the necessity of cleanliness in public art installations and cultural places, and then demonstrate how cleanliness may be achieved with a professional maid cleaner or cleaning company in Seattle, assisting with the maintenance and preservation of some of these important assets. In order to make sure these areas are hygienic and secure, a cleaning company in Seattle can be really helpful.
The Importance of Cleanliness in Public Art
Public art installations are basically pieces of works that the public should view and enjoy. Usually, those are installed in outdoor settings like parks, plazas, and urban spaces where they are exposed to various elements of weather and pollution. Such facilities must be kept clean and neat in order to remain in their original, attractive position where people can view and appreciate them.
Preserving the Artist’s Vision
Public art installations are works that are meant to send a certain message to people, usually the vision and message of the artist. Dirt and other forms of debris can accumulate on the surface and obscure the details of the work, changing its appearance. But cleanliness can help retain or preserve the vision of the artist and allow everyone to see the work of art as intended.
Enhancing Public Appreciation
A clean and well-maintained public art display is more likely to attract and capture people’ attention. Dirty, defaced or damaged art turns viewers away and reduces their experience. Maintaining these installations’ cleanliness and condition may raise people’s awareness of public art and inspire them to visit and explore these valuable cultural resources. By enlisting the services of maid cleaners in Seattle or a cleaning company in Seattle, the city can ensure that its public art remains a source of pride and enjoyment for residents and visitors alike.
The Significance of Cleanliness in Cultural Spaces and Public Spaces
Cultural spaces are the theaters of artistic expression and the means of cultural communication. These places include museums, galleries, and performance spaces. They are spaces where creative works or artifacts are shown, but they are also a place for communities to connect, learn, and celebrate their shared heritage. Keeping cleanliness in these spaces is crucial for preserving the integrity of the exhibits and ensuring a positive visitor experience.
Cleanliness is a very important aspect that needs to be kept in public spaces. When people visit any cultural institution or any public art installation, they expect to find a clean and well-maintained space.
Cleanliness is very important in public art because outdoor installations are exposed to dust, dirt, and pollution. Regular cleaning and maintenance ensure that the artwork remains in pristine condition, allowing visitors to appreciate its beauty and meaning as intended by the artist.
Protecting Valuable Artifacts and Artworks
A great deal of cultural sites contain priceless objects, works of art, and historical treasures that are susceptible to damage from dust, pollution, and other impurities. In order to protect these treasures and make sure they last for future generations to cherish, proper cleaning and maintenance procedures are necessary.
Creating a Welcoming Environment
An excellent, well-kept cultural facility greatly improves the experience of visitors. A spotlessly organized, visually pleasing and welcoming environment is likely to make a guest feel more at ease and included. This pleasant environment can encourage longer stays and more visits as well as a better appreciation of the cultural activities.
The Role of Maids or Cleaning Company in Maintaining Cultural Spaces
Maids or cleaning companies work hard to tick the box for flawless cleanliness, which is hidden behind the performance of every well-maintained cultural place. They make sure that the public enjoys a welcoming, clean, and safe environment. The presence of maids or cleaning companies is important for making sure everything is in order from displays to artwork, floors and restrooms. They are dedicated to the task at hand allowing the visitors to immerse themselves in the cultural experience without getting distracted by an untidy setting.
Expertise and Experience
Professional cleaning companies and maids are skilled in their fields and have knowledge of the unique difficulties and specifications that arise when cleaning public artwork and cultural spaces. This ensures that the necessary knowledge and abilities are available for the careful handling of delicate artwork, rare objects, or specific surfaces.
Specialized Equipment and Techniques
In order to protect and preserve the artworks and artifacts, cleaning public art and cultural places typically calls for certain tools and methods. Professional maids or cleaning companies usually have access to the latest cleaning equipment and environmentally friendly products, which help in the service to be effective while at the same time being responsive to the prevailing environment.
Customized Cleaning Plans
Every public art installation and cultural space requires cleaning services specific to the site and materials used, among other environmental considerations. Professional maids or cleaning companies can work closely with curators, artists, and facility managers to create need-based cleaning regimens that are tailored to each space’s specific needs.
Sustainability
Sustainability and environmental awareness are topics that are frequently discussed in public art projects and cultural venues.This public places should be cleaned and maintained to optimize its environmental impact; hiring an eco-friendly maid or a cleaning company in Seattle will ensure that this happens.
The Challenges of Maintaining Cleanliness in Public Spaces
Maintaining clean cultural places and public artworks is limited by a number of factors. Regularly used public spaces and venues are typically open daily. Dust and dirt issues may become common when a large number of individuals come and go in a given day.
On the other hand, exposing the artwork to the elements while it is being installed may accelerate its deterioration. Consequently, the dirt gets deeper. This implies that during periods of heavy rain, snow, or exceptionally high temperatures, maids and cleaning staff are unable to move about freely in these locations. There are even more reasons, though, for maintaining clean cultural spaces and public art pieces. In order to ensure the continued existence of these places close cooperation between the community, workers, and the institution is required.
Conclusion
Cleanliness is essential for the preservation of public art installations and cultural settings. Prioritizing cleanliness not only helps to preserve priceless artwork but also increases public knowledge of and participation in our community’s artistic and cultural heritage. And if you happen to be the one in charge of a public art installation or any cultural space, consider working with professional maids or cleaning companies. With their unique knowledge, equipment, and dedication to environmental sustainability, these cultural artifacts can be preserved well for all time. After all, cleanliness serves more than just aesthetic purposes; it protects our cultural legacy, encourages environmental stewardship, and strives to create welcoming environments that inspire and revitalize our communities.
In today’s increasingly multicultural New York City, dance functions not only as an artistic medium but also as a powerful vehicle for cultural expression. Among the many artists shaping the city’s dynamic cultural scene, Yuxi Liu stands out for her solid foundation in classical Chinese dance and her acute understanding of contemporary movement language. She has remained active on major cultural platforms and is widely regarded as one of the most accomplished Chinese dancers working in the United States.
Yuxi Liu received her professional training at Beijing Normal University and previously served as a faculty member at the Modern College of Northwest University. She is currently a resident artist with Dance China NY, a company affiliated with the New York Chinese Cultural Center. In recent years, Liu has frequently appeared at high-profile cultural events across New York, consistently delivering performances of exceptional quality and helping expand the expressive reach of Chinese dance in international settings.
At the beginning of 2024, Liu returned to the main stage of the Times Square New Year’s Eve Countdown celebration. Representing the Sino-American Friendship Association, she has participated in this globally recognized event on multiple occasions. This year, she performed in the opening production titled Harmony of Wuliangye, a piece that blended traditional Chinese cultural elements such as ritual toasting, Sichuan Hua Dan opera, and lion dance. The performance reached a large international audience both in person and through global livestream. On this highly visible platform, Liu demonstrated precise physical control and a commanding stage presence rooted in Eastern aesthetics. Her performance presented the richness and depth of Chinese dance and received an enthusiastic response from the crowd. Through the live broadcast, her artistry further extended the visual language of Chinese culture to viewers around the world.
While her Times Square performance highlighted her role as a cultural ambassador in mainstream global contexts, her contributions to the HOME Project, jointly organized by the New York Chinese Cultural Center and the Museum of Chinese in America (MOCA), reflected her deeper engagement with contemporary artistic expression. In the 2022 and 2023 editions of the HOME Project, Liu created and performed in two distinct works. Knot, which she co-choreographed and performed, used the central image of entanglement to explore the emotional complexity of cross-cultural identity. The piece combined traditional Chinese dance techniques with contemporary movement vocabulary to reflect on memory, belonging, and transformation.
In the 2023 production Placeless Place, Liu was one of the lead dancers in a multidisciplinary performance that integrated dance, music, film, and visual installation. This work centered on the lived experiences of immigrant artists, addressing issues such as displacement, identity, and cultural integration. Liu’s emotionally resonant performance played a critical role in conveying the thematic depth of the piece. Her presence contributed significantly to the work’s artistic coherence and emotional power.
Beyond major productions and experimental projects, Liu also maintains an active presence in community cultural festivals and public art initiatives. At the 16th annual New York Dance Parade, she performed alongside the New York Chinese Cultural Center team. Their performance brought traditional Chinese dance into the heart of Manhattan as they moved through Broadway, engaging audiences with joyful rhythm and expressive movement. Despite challenging conditions, including intense heat, Liu delivered a performance marked by technical precision and vibrant stage energy. Her ability to connect with diverse audiences in nontraditional settings speaks to her versatility and professionalism.
From world-renowned stages to neighborhood festivals, from conventional theaters to city streets, Yuxi Liu brings a high level of artistic excellence and cultural sensitivity to every context. She is not simply a presenter of culture. She engages with it, interprets it, and gives it renewed life through her dance. Her work demonstrates that dance is not only an artistic discipline but also a deeply communicative cultural language. Yuxi Liu embodies that language with exceptional clarity, dedication, and expressive power.
It was a gloomy day at Barcelona’s Parc del Fórum on Friday; though the sun was out when I got there, clouds soon loomed over, and it was raining by the time I left. It felt strangely fitting, in part because while there was as much variety as on the first day of the festival, day two at Primavera Sound seemed to orbit around Lana Del Rey’s headlining performance. The crowds that got there early were almost overwhelming, and the organizers were smart to book acts like Ethel Cain and Chelsea Wolfe, who have received their fair share of Lana comparisons, on the same day. Thank God we had the National to lift our spirits! Here are five memorable moments from the night.
Ethel Cain’s ‘A House in Nebraska’ Echoes Through the Forum
Ethel Cain. Credit: Clara Orozco
As I arrived at the Forum a few minutes late on Friday afternoon, Ethel Cain’s ‘A House in Nebraska’ was already booming out the venue, which felt sort of fitting. I kept hearing the sweeping echo of Hayden Anhedönia’s voice as I made my way to the Santander stage under the blistering sun, though by the time I got there, I’d missed the live debut of a new song called ‘I Keep the Angel’. Fortunately, the rest of the set was nothing short of transcendent; wearing a Free Palestine shirt, Anhedönia’s connection with the audience was unwavering, intense, and utterly genuine. She played a brief harmonica solo during the twangy ‘Thoroughfare’, which kept the crowd in quiet rapture; a lot of people may have already been camping out to see Lana Del Rey, but they sure as hell cheered at “God loves you, but not enough to save you” during ‘Sun Bleached Files’, screamed along to ‘American Teenager’, and knew exactly what to sing when she pointed the mic to the crowd during ‘Gibson Girl’: downright iconic. Bearing witness, even for just a few songs, was a real gift.
Chelsea Wolfe Lingers in the Darkness
Despite the distance between the Santander stage and the Auditori, heading over to see Chelsea Wolfe after Ethel Cain was the obvious choice, which Wolfe proved by actually dedicating a song (‘The Culling’) to none other than her. The indoor setting was perfect, allowing her to be shrouded in darkness as she shred and drifted mostly through songs from this year’s She Reaches Out to She Reaches Out to She, punctuated by lighting that consistently matched not just the solemn mood but intensity of her music. “I will run through the fire/ To get to you,” she sang on ‘Dusk’, bringing to mind yeule’s set from the previous night. The feeling lingered as she closed the set with the simple intimacy of ‘Flatlands’: “I need your arms/ Wrapped hard around me.” Dark, yes, but an embrace nonetheless.
Lana Was Late, and We Had a Ball?
Credit: Sharon López
This happens. In fact, the exact same thing happened a couple of months ago at Coachella: Lana Del Rey was 30 minutes late. A week ago at Hangout Fest, she was 20 minutes late. When it happened last year at Glastonbury, where she was escorted away by security after her set was cut off, she explained herself by saying that her “hair takes so long.” (It looks like it.) The truth is that we don’t know what’s happening off stage during that half-hour; if it’s the same issue every time, if it’s really on purpose. We don’t know a lot about pop stars. Lana Del Rey doesn’t perform like one – right before her, Troye Sivan had clearly put so much effort into every part of his, becoming one with his dancers instead of gracefully whirling around them – but her show is staged like that of a pop star. Do people expect an immaculate performance from Lana Del Rey, an idol to worship, or poetry? Maybe my thoughts would be different if I had paid instead of being paid to see her, but if you’re going to see Lana Del Rey, messiness, not efficiency, is par for the course. I heard some boos, but of course people waited, and of course they sang their hearts out.
At times you could barely hear Lana Del Rey; some wondered if she was okay, which had me thinking if we’re really to worry about the well-being of a pop star. How much of it is a show? And if so, what does it mean to still scream along – no, over her? Like every one of her concerts, this happened last night at Primavera, and that kind of adoration is also to be expected, even if it conflicts with the nature of her songs. If you want to be poetic about it, there’s something to be said about the whole thing mirroring Lana’s commentary on the fragility of glamour and the disillusionment of fame, especially as she began her performance with an unflinching ‘Without You’. She tried to sing at least a couple of songs from most of her albums (though not the one referenced in this subheading), let the audience do a lot of the heavy lifting, and granted the spotlight to her incredible dancers and backup singers, who were particularly stunning during ‘The Grants’. She sounded best during piano ballads like ‘Bartender’ and ‘Norman fucking Rockwell’ because it was clear what mattered wasn’t how big her voice sounded but how affecting when it was vulnerable and elastic. She cursed strict curfews, shortened ‘A&W’ so she could take time interacting with fans out front over an eerie jazz outro, and finished with the song so many were dying to hear: “Will you still love me when I got nothing but my aching soul? I know you will, I know you will.”
The National, Raucous and Vulnerable
Credit: Clara Orozco
For a lot of attendees, Lana Del Rey’s tardiness was as disrespectful to the fans as it was to the band that followed her on the adjacent main stage. But unlike Lana Del Rey, the National’s popularity is directly correlated to their reliability, and they did not disappoint. I missed them when they played the festival a couple of years ago, but their two-hour set last night delivered everything a fan could ask for. It was raucous and propulsive when it had to be, peaking in intensity when the climax of ‘Fake Empire’ bled into the seven-minute epic ‘Space Invader’, a reminder of how much power there is in Bryan Devendorf’s drumming. Bryce and Aaron Dessner wrangled noise out of their guitars as much as they held it down, and Matt Berninger had a dozen ways to communicate the existential angst of his lyrics: gesticulating, clutching at his hair, prowling the stage, heading into the crowd, tangling the mic like it’s thoughts in his head. At one point, he called out to the one person who bumped into him at William Basinski’s The Disintegration Loops performance the day prior, saying it was like meeting Santa. (Who knows if it really happened – he also talked about the band members buying apartments in Barcelona and promised New York pizza slices.) “It was great and terrible,” which sounds a lot like the love in their songs. The show itself, at least, was just great.
Arca the Pop Star
Credit: Sharon López
After all the doom and gloom of pretty much every set I caught yesterday, Arca’s rapturous live show at the Amazon stage felt necessary and worth staying up for. The crowd greeted the Barcelona-based Venezuelan artist like the magnetic pop star that she is, even as she didn’t play so much as perform to her own music, her voice and stage presence by turns sultry, otherwordly, and glamorous, but always captivating. When she fractured the glitchy, mutable pop of her recent albums for the avant-garde operatics of her past work, it was a reminder of just how far her sound and influence stretch, never lingering in one style for too long. While pierced through the veneer of pop perfection, not too unlike Lana’s set seemed to do, Arca’s show was a whole other spectacle, and she knew to have fun with it.
Follow along with our Primavera Sound 2024 coverage here.
In terms of popularity, Slots are one of the most played games in casinos these days. They’ve been around since the late 1800s and have found major success with their relatively simple gameplay.
But there’s a lot more to slot games than just pressing a button, tapping a screen or pulling a lever to get the reels spinning. Quite a bit goes on behind the scenes of a slot machine, more than you might imagine.
That’s why we’ve put together our quick and simple guide to Slots, so read on to learn more about how these games work and the sorts of gameplay you might find in casino slots in the UK.
The mechanics of slot machines
There’s plenty going on beneath the hood of slot machines, even after the move away from mechanical cabinets to video Slots and online play. While the spinning reels have gone from physical to digital, a lot still goes into making sure that they work the way that they do.
The piece of tech that keeps slot games running smoothly is known as a random number generator (RNG). This does exactly what it says on the tin, with the advanced computer algorithm producing hundreds of random numbers per second.
Each of these numbers corresponds to a single symbol on each of the reels, which allows the RNG to determine the outcome of every spin. Once a player initiates a game the computer takes the set of numbers generated at that moment as the basis of the spin’s outcome.
This is how slot games remain fair, with the results of each individual spin entirely down to the random nature of the RNG.
The major types of Slots
Over time, developers have found new ways to innovate on the classic Slots formula, leading to the creation of many new types of slot games. These days they’re split into a few major categories based on a few key features and gameplay mechanics.
One major division is made depending on the type of jackpot that the game offers, with some Slots using a fixed jackpot amount and others a progressive one.
What this means is that each time that game – or one of a linked network – is played, a small amount of the player’s wager goes towards the jackpot total. This allows the figure to climb far higher, potentially hitting five or six digits before a jackpot combination lands.
Another difference comes in the amount of paylines that a slot game uses, or whether it even has any at all. The payline is the row of connecting symbols that the game checks for winning combinations, from horizontal and diagonal lines to zigzags and other patterns.
Classic Slots will often only use a couple of paylines, where others have hundreds of possible lines for players to activate depending on the amount of their wager. Games using the Megaways format don’t have traditional paylines, instead basing combinations on whether symbols appear in clusters.
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There’s still plenty more to learn about the ins and outs of Slots, but this should have given you a good basic understanding of the games.
When it comes to playing Blackjack, there’s one question that many players often have – where did it all start?
Blackjack, also known as 21, is one of the most popular card games, and its history is as intriguing as the game itself. It traces back centuries and has evolved to become the game we know today – including modern twists like live Blackjack.
Understanding the evolution of Blackjack provides insight not only into the game’s development, but also into the cultural changes that have shaped its current form.
So, let’s look at a brief history of the game…
The beginning
The origins of Blackjack are interesting because the exact starting point of the game is debated by many. However, the overriding opinion is that the game can be traced back to the early 17th century in France.
There was a popular game being played known as “Vingt-et-Un” – French for twenty-one – and this game was a staple in the French gaming houses. The game’s objective was to reach 21 points without exceeding it, a rule that we know is fundamental to modern Blackjack.
Players used a deck of cards similar to today’s decks, emphasising random numerical combinations to achieve the target score. The French game also introduced many key elements such as betting and the role of the dealer, which have endured in contemporary Blackjack.
Across the seas
After this, the game made its way to North America with French colonists in the 18th century, where it underwent significant changes and adaptations.
In the United States, the game began to evolve into its modern form. During the early 1800s, US gaming houses began offering a variation of Vingt-et-Un to attract more players. These variations offered extra features. For instance, a 10:1 payout was given if a player’s hand consisted of the Ace of Spades and a black Jack (either Jack of Clubs or Jack of Spades).
As you may already guess, this winning combination was called a “Blackjack,” and although the bonus payouts were eventually abandoned, the name stuck.
Online casino
From the beginning to the late 20th century, Blackjack soared in popularity and witnessed globalisation. The game spread to Europe and Asia, for example – each region adding its own variations and rules to give players a unique experience.
And when it came to a unique experience, the advent of online casinos in the 1990s further propelled Blackjack’s popularity. Players could now enjoy the game from anywhere where they had a reliable internet connection.
Since the game moved online, we’ve seen even greater advancements such as the arrival of live Blackjack, where you can face virtual dealers in a live setting. The game involves real dealers and is streamed to players’ screens.
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It’s not hard to see why today, Blackjack remains a favourite among casino players.
From its early beginnings in France to the globalisation of the game and the digital platforms of the Internet age, Blackjack’s rich history is a testament to its universal core and timeless gameplay.
The next question to ask is – where will Blackjack go next?
Wang Mei Yi, Li Si Yuan, Duolan Kumori, Guo Pengjun, Hong Junwen, Yang Sixue, Guan Wenyue, Xiang Mengchuan, Liu Nuojia, Mika Kamiya, Taylor Chyn, Wu Jiayi, Song Xinyi, Zhou Weichen, Lu Shangfeng, Zhang Jiyu, Chen Yunyu, Xie Qianhui, Li Quanzhen, Ren Ruoyu, Shan Luojia, Zhao Junni, Ding Xinyi, Liu Jintian.
On the afternoon of May 18, 2024, the “The Power of Stillness, the Boundaries Between Noise and Sound” art exhibition opened at the 3.5 Art Space in the Beijing 798 Art District.
This exhibition brings together 25 artists from diverse backgrounds, including current students and graduates from renowned art institutions such as the Royal College of Art, UAL-Central Saint Martins, Washington University in St. Louis, Birmingham City University, as well as students from international schools in Beijing such as DSCHK, Keystone, Harrow, Keystone, ISB, and Dulwich. These young artists present a fascinating exploration of visual and auditory art.
As part of the “Global Young Artists Support Program,” this exhibition follows the important project of the “Temporal Collision” art exhibition in London in 2023. The core theme of the exhibition, stillness and noise, provides a reflective mirror for contemporary society, exploring how individuals find inner peace and meaning in an environment of information overload and sensory numbness. Through their works, the artists not only showcase their unique perspectives and deep reflections on this theme but also spark widespread discussions on how to maintain inner tranquility in a fast-paced life.
Exhibition Preface
This exhibition takes “the power of stillness, the boundaries between noise and sound” as its theme, exploring issues such as stillness in images, propositions, beliefs, and perceptions.
Young artists have rarely experienced the long and sometimes tedious history, and most of them are engaged in debates around representation and reason. These debates often affect the image (and matter) itself to the extent that the image is often seen as the metaphysics of “photography,” the latter (the debate) predominating the former (image).
In Wittgenstein’s later concept of the “world picture,” he mentioned that the image is an image of thought, which is actually thought “itself,” and our sum of thoughts is a picture of the world. So propositions are real images. However, images cannot exist outside of their representational forms. Most of us work according to images because the stability of things gives us the motivation to study. As for what the world is, besides scientists and philosophers, artists use images to express subjective understandings of the existence and evolution of the world.
Artists seem to have unshakable beliefs, but what are their beliefs? Belief is an anchor that exists in all our questions and answers. In this seemingly only-speaking space, who is willing to listen to the truths that artists express with their hearts but cannot speak with their mouths?
This exhibition will provide a completely different approach. It first encourages artists to “argue” with their works in the form of narratives. Then, it will serve as part of the exhibition’s contribution, in fact, what might our artistic living environment become from the perspectives of art groups, politics, subjects, and society? The curatorial team will conduct a dual narrative.
On the other hand, how are the images and “arguments” of artists intertwined, what does it mean for artists? Or what might it mean in this world of robots, concept activations, and multidimensional time distortions, what can contemporary art still mean?
Academic Adviser, Curatorial Team’s Address
At the opening ceremony, Lin Yu (representative of the School of Visual Arts (SVA) in Greater China) first delivered a speech, mentioning that as an artist, visiting exhibitions is an experiential process of learning from other artists. At the same time, she also shared her feelings when viewing works by young artists, which reminded her of the passion and challenges that initially drew her into the art industry. Finally, she compared the past and present conditions of artistic creation and encouraged young artists to maintain an open mind, enjoy the creative process, and never forget their initial love.
Lou Yang (member of the China Artists Association) expressed appreciation for the works of young artists of different ages, believing that these works are not only full of power but also brimming with vitality, as if one can feel the continuous creativity and vitality through the canvas, sculpture, or image. She also mentioned that this is the first time for many children to participate in a professional art exhibition. Whether it is for their personal growth or their exploration and attempts in the field of art, this is an invaluable experience. She believes that by participating in this exhibition, not only can they gain valuable exhibition opportunities but also grow through communication and learning, inspiring their love for art and the courage and determination to continue pursuing their artistic dreams in the future.
As the executive curator of this exhibition, Lu Jiayi recalled her views on the 798 Art Exhibition during her school days, feeling that it was the domain of professional artists. She believes that the exhibition is an opportunity for experimental works, and the important thing is the whole experience and the feedback received after the work is displayed, not just the final presentation of the work. At the same time, she also emphasized the importance of listening to different voices, including questioning voices, which helps in rethinking and progressing.
The exhibition runs from May 18 to May 27, 2024, allowing the audience to experience and contemplate the depth of static beauty and sound in modern fast-paced life. The exhibition not only showcases the creativity and innovation of young artists but also provides a platform for communication and inspiration for art enthusiasts and professionals.
Heart disease remains a leading cause of death worldwide, making early detection and accurate diagnosis crucial for effective treatment. Among the various diagnostic tools available, CT scans have emerged as a powerful method for evaluating heart health. This comprehensive article explores the role of CT scans in diagnosing heart disease, detailing the procedure, benefits, and insights that set it apart from other diagnostic methods. Additionally, we will provide an in-depth look at how CT scans contribute to the management and prevention of heart disease.
Understanding CT Scans
A CT (Computed Tomography) scan, also known as a CAT scan, uses X-ray technology to create detailed cross-sectional images of the body. These images are combined to produce a comprehensive 3D view of internal structures, including the heart and blood vessels. CT scans are particularly useful in visualizing the coronary arteries, assessing calcium deposits, and identifying blockages or other abnormalities that may indicate heart disease.
Types of CT Scans for Heart Disease:
Coronary CT Angiography (CCTA): This type of CT scan focuses on the coronary arteries, providing detailed images that can detect blockages, plaque buildup, and other structural issues.
Calcium Score Screening Heart Scan: This scan measures the amount of calcium in the coronary arteries, which can indicate the presence of coronary artery disease (CAD).
CT Pulmonary Angiography (CTPA): Used to visualize the pulmonary arteries and detect conditions such as pulmonary embolism that can affect heart function.
Benefits of CT Scans in Diagnosing Heart Disease
Early Detection
One of the primary benefits of CT scans is their ability to detect heart disease at an early stage. By identifying calcium deposits and blockages in the coronary arteries, CT scans can reveal the presence of coronary artery disease before symptoms appear, allowing for early intervention.
Non-Invasive Nature
Unlike traditional angiography, which requires the insertion of a catheter into the blood vessels, CT scans are non-invasive. This reduces the risk of complications and makes the procedure safer for patients.
High Accuracy and Detail
CT scans provide highly detailed images of the heart and blood vessels, allowing for precise diagnosis. This level of detail can be crucial in planning treatment strategies and monitoring the effectiveness of interventions.
Quick and Convenient
CT scans are relatively quick procedures, typically completed within 30 minutes. This makes them convenient for patients and allows for rapid diagnosis, which is essential in emergency situations.
Finding a CT Scan Provider
Choosing a reputable provider for your CT scan is essential for accurate diagnosis and effective treatment. When searching for a provider, consider factors such as technology, expertise, and patient reviews. If you’re looking for a CT scan near Nashville, visit this website and schedule an appointment today.
CT scans are a powerful tool in the diagnosis and management of heart disease, offering early detection, detailed imaging, and non-invasive procedures. By understanding the benefits and integrating CT scans into a comprehensive heart health strategy, patients and healthcare providers can work together to prevent and treat heart disease more effectively.
Whether you’re at risk for heart disease or looking to monitor an existing condition, CT scans provide valuable insights that can guide your health journey. Take advantage of this advanced diagnostic technology to ensure you receive the best possible care for your heart.
Year after year, Primavera Sound upholds its reputation as one of the most diverse festivals in the world, and my first day at this year’s Barcelona event seemed to encompass it all: ambient, indie, hardcore, and at least a couple of subgenres with the divisive “hyper” prefix. But the Parc del Fórum is a place where none of it felt discordant or without purpose, and even sets I didn’t catch in full left a mark. Amyl and the Sniffers proved that energy really is their currency, Sofia Kosurtesis reminded us how music makes you feel better, Peggy Gou kept the party going, and A.G. Cook stretched Britpop into the early morning just hours after one of the actual genre’s big three, Pulp, took the main stage. In chronological order, here are five highlights from the first day of Primavera Sound 2024.
Pondering Time With William Basinski’s The Disintegration Loops
The festival environment doesn’t lend itself to pensive reflection, but the prospect of hearing The Disintegration Loops live at the Auditori Rockdelux – my first time visiting the indoor venue after three years of attending the festival – was too enticing to pass up. Any kind of ambient music is a strange way to kick off your Primavera experience, but given the near-mythic story behind the album – a masterpiece composed on September 11, 2001 by transferring reel-to-reel tape loops to a digital format and capturing their gradual deterioration – its performance by a small orchestra took on a level poignancy (and nuance) I’d try to intellectualize if I wasn’t writing this on the way to another show.
Though the set had already begun when I took a seat, the fact that I could already hear those familiar horn sounds as I walked in felt fitting. The place was packed, and just thirty minutes later, the purportedly hour-long show was over. I figured it had, for whatever reason, started thirty minutes earlier than announced, which someone in attendance confirmed to me, though several others were left wondering the same thing: “Was that it? Did we miss it?” Which are probably the exact questions Basinisksi would have liked to leave us with. He got up to say a few words at the end, informing us that the musicians managed bring the piece to life after just two rehearsals. “Let me tell you something: It looks simple, but it ain’t,” he remarked. (Also: “I’m not Phillip Glass, okay?”) A bit of a letdown for those of us who only caught so much, but totally transfixing – like time, I guess.
Mannequin Pussy’s Heavenly Catharsis
Credit: Gisela Jané
Mannequin Pussy brought the fire at the Plenitude stage on Thursday evening, right opposite the Steve Albini stage that had just paid tribute to the late underground icon with a listening party of Shellac’s new album. (“Shellac and 249 more,” reads one of this year’s merch shirts.) Woven together by Marisa “Missy” Dabice’s alluring theatrics and impassioned speeches about religion, capitalism, and police brutality, the band’s set was visceral and life-affirming throughout. Despite some technical difficulties (it seemed Missy had trouble hearing her vocals, noticeably fractured and breathy during the more melodic parts yet always astounding in their intensity) and audience chatter marring the first half of their set, the show absolutely erupted after ‘Loud Bark’, whose opening notes everyone around me whooped at louder than most of I Got Heaven‘s advance singles. From there, it was ripper after ripper and sweet, heavenly catharsis.
Vampire Weekend Deliver the Hits, Jam Band-Style
Credit: Sergio Albert
Vampire Weekend were the perfect band to headline the first day e of Primavera, even if they’re the sort of indie band you’d rather watch as the sun goes down than way into the night. Having played Coachella, Kilby Block Party, and Radio 1’s Big Weekend earlier this year, they happily showcased highlights from their new album, Only God Was Above Us – ‘Capricorn’, ‘Gen-X Cops’, and ‘Connect’ – for the first time in Spain, along with an array old of hits. While they didn’t go full jam band mode – I guess Primavera has to tap into that market for us to get another 30+ minute ‘Cape Cod Kwassa Kwassa’ – they did get pretty jammy with songs from across their catalog, and it was the most thrilling part of their show.
That was especially the case during the extended version of ‘New Dorp, New York’, the SBTRKT track to which Ezra Koenig contributed vocals a decade ago. Alongside Father of the Bride‘s ‘Sympathy’, it became the set’s unlikely centerpiece, suddenly music worth raving about and to as everyone on stage virtuosically yet playfully played off each other. Equally impressive and dynamic was the show’s general presentation, from the lighting to the video art – some of the best I’ve seen at any festival – which solidified the impression that Vampire Weekend were there to do more than conjure indie’s golden era; they’re still pushing it forward. But they also knew when to stick to the script and cater to an audience gleefully mouthing along even to Koenig’s wordiest verses. Every now and then, the frontman would gesture his hands widely, lest we forget the existential dread that belies the band’s sunny hooks. And how could we ignore it when they closed with a powerful rendition of ‘Ya Hey’, meeting us right there on the festival grounds, the air already cool, the sun already down.
Yeule Is Electric
Despite conflicting with sets by Pulp and Deftones, yeule had a devoted crowd to captivate and tease just after midnight at the Plenitude stage. The Singaporean singer-songwriter-producer, who used to describe their project as a “cyborg entity,” makes transcendent music so vaporous and gauzy it’s hard to translate to a live setting. “Post-humanism and cyborg theory came from a deep hatred for my body,” they’ve explained, and their conceptual and artistic progression manifested in deeply embodied and human performance. (I’m curious how different it was when they played the festival two years ago.) Rather than let the show blur into a dreamy, distorted reverie, yeule made it feel like an actual rock show (not unlike Yves Tumor the year prior), with songs like ‘dazies’ clearly owing a debt to the alt-metal heroes whose music could be heard not too far away. They displayed full command of the stage as soon as they launched into Glitch Princess‘ ‘Electric’, accompanied by an energetic live drummer who reveled in every hit, and the songs from their latest album softscars sounded mesmerizing, too. But the moment the audience was waiting and rapt for arrived with the euphoric ‘Bites on My Neck’, in which yeule sings, “I had to walk into the fire to know how to feel.” That was the feeling alright.
The Armed Jolt Us Awake
After eight hours on the festival grounds, I couldn’t think of a better way to be jolted back to life than the sonic onslaught of the Armed’s 2am set, which had me questioning if there was something wrong with my earplugs or if it was really that loud at the Plenitude stage. Given the mystery surrounding the experimental hardcore collective and its members, seeing them live was as intensely thrilling as it was overwhelming. The band ripped through highlights from 2021’s ULTRAPOP and last year’s Perfect Saviors with wild abandon and damn-near clinical precision, barely ever softening except for the refrain of ‘Sport of Form’. Members shared vocal duties as well as their time in the spotlight, making it feel like a communal celebration even as it was Tony Wolski’s stage presence that clearly stood out. “Wake up, the real fun’s about to start,” he said about halfway through, and he wasn’t wrong.
Follow along with our Primavera Sound 2024 coverage here.
Huaiyi Du is a boundary-breaking artist, weaving dreams and memories into captivating visual narratives through his compelling photography. With keen insight into the surreal and contemplation on the interplay between reality and illusion, Du’s work leads viewers on a journey of introspection, exploring the mysterious realms of memory and perception.
Title: Series”Honey Pool” Year:2022 Size& Medium :Digital Image Arts, Various Size or 40cm*50cm
From his recent exhibitions in London, we have seen some of his new works, such as “Incomplete Investigation Archives” and “Honey Pool”. Through these exhibited photographs, we can perceive Huaiyi Du’s deeper exploration of dreams and memories. He believes the middle ground between reality and surrealism is the creative realm. Therefore, sometimes his works may appear quite common in life, while others lean closer to surreal experiences. The key factor in his creations is imagination. Imagination bridges a vacuum between reality and surrealism, where all reasonable and unreasonable existences coexist.
“We all know that imagination is ubiquitous in real life. For example, the sources of information we encounter daily, such as newspapers, media, and the internet, are mostly ‘fabricated by imagination’.” –Huaiyi said.
The extent to which they are fabricated depends on our subjective willingness to accept them. The ultimate pursuit of truth is unrealistic because truth itself is inherently difficult to define. Many phenomena in life are analogous to the superposition concept in quantum theory. Probability provides a rational entry point to explore the world, where anything can exist, disappear, or transform into something else under specific circumstances.
On the other hand, Huaiyi is very fond of Deleuze’s concept of “intensity.” The continuation of any form or emotion can lead to vastly different outcomes due to differing intensities. When creating these works, He first abandons the notion of precise objective expression and instead provides himself f with a certain creative context (between the real and the unreal). Guided by emotional experiences, Huaiyi explores the different “intensities” of emotions. These varied emotional experiences give rise to the diverse nature of each piece of work.
Title: Series”Incomplete Investigation Archives” Year:2024 Size& Medium :Digital Image Arts, Various Size or 40cm*50cm
These images delve into the perception of “déjà vu” and also depict a kind of “cognitive error.” Throughout his creative process, Huaiyi Du has consistently aimed to situate the contextual meaning of the images between reality and surrealism, to express abstract concepts like memory and emotions. These photographs represent Du’s exploration of personal dreams and memories at different stages of life.
Title: Series”Honey Pool” Year:2022 Size& Medium :Digital Image Arts, Various Size or 40cm*50cm
“I believe that individual visual memories often distort original memories. For example, during sleep, real memories are continually reshaped and overlaid through dreams, and over time, these inaccurately conditioned memories tend to replace the original ones. I often believe that things I’ve seen in the past were a certain way, but often they are not. This conviction and reality often diverge. Once the boundaries of this reality become less tangible, perhaps ambiguity represents another aspect of the world.” — Huaiyi Du
Title: Series”Incomplete Investigation Archives” Year:2024 Size& Medium :Digital Image Arts, Various Size or 40cm*50cm
In the ‘Incomplete Investigation Archives,’ Huaiyi Du continuously blurs the boundaries of reality, to some extent, disrupting the photography’s traditional function of ‘truthful representation.’ Through the use of new technologies and mediums, Du never ceases to explore. He finds excitement in every fresh technological advancement. ‘The duality of technology often manifests in practice. For creators, instead of worrying about its dual nature, exploring the creative breakthroughs brought about by technological changes is a source of excitement,’ explains Du. He elaborates that the creation of the images does not rely on overlays from the real world, but may instead come from the virtual world or the past (such as images from old newspapers).
Title: Series”Incomplete Investigation Archives” Year:2024 Size& Medium :Digital Image Arts, Various Size or 40cm*50cm
“Huaiyi Du sees the middle ground between reality and surrealism as his creative domain. Therefore, his works often manage to glimpse certain details from real life in an almost surreal experience. Imagination is a crucial element in Du’s extensive body of work because it bridges the gap between reality and surrealism, where all reasonable and unreasonable coexist.”
“We all know that imagination is ubiquitous in real life. For example, most of the sources of information we encounter daily, such as newspapers, media, and the internet, are mostly ‘created by imagination.’ The extent to which they are created depends on our subjective willingness to accept them. The pursuit of truth itself is unrealistic because truth itself is difficult to define. Many phenomena in life are analogous to the superposition concept in quantum theory. Probability provides a rational entry point to explore the world, where anything can exist, disappear, or transform into something else under specific circumstances.” — Huaiyi Du
In the realm of reality’s boundaries, Huaiyi Du is exploring the authenticity of memory and consciousness from his unique perspective. As the original reality is gradually digitized, will anyone still care about the scenes of reality after it has passed? Huaiyi continues to explore and create within this seemingly contradictory trend.
