• Cinematic artwork
• Promotional image
• Release art

Empire of the Sun artwork

“… taking its cue from Vonnegut, ‘Conflict, Time, Photography’ is arranged differently, following instead the increasing passages of time between events and the photographs that reflect on them https://voltage-bet.io/. There are groups of works made moments after the events they depict, then those made days after, then months, years and so on – 10, 20, 50, right up to 100 years later.”

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He curates Art Blart, art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, Master of Arts (Fine Art Photography) from RMIT University, and Master of Art Curatorship from the University of Melbourne.

Vonnegut was a prisoner of war in Dresden when what he called ‘possibly the world’s most beautiful city’ was destroyed by incendiary bombs, and struggled to write his war book for almost 25 years. Kawada was a young photographer working in post-war Hiroshima when he began to take the strange photographs of the scarred, stained ceiling of the A-bomb Dome – the only building to survive the explosion – that he would eventually publish on August 6 1965, 20 years to the day since the atomic bomb was dropped on the city.

Cinematic artwork

Vugar Efendi’s supercut published in three parts, titled “Film Meets Art,” lists almost fifty instances of paintings reflected in filmography. Efendi’s archive hosts some well-known examples, such as Akira Kurosawa’s 1990 Dreams which reflected the pathos of Vincent van Gogh’s 1890 Wheatfield With Crows not just through cinematic solstice but also through metaphor. An unrecognizable Scorsese plays Van Gogh in Dreams, who, interspersed in a cinematic environment aided by Chopin, represents the pathos of the human condition, with Wheatfield With Crows posing as the setting as well as the story.

Vugar Efendi’s supercut published in three parts, titled “Film Meets Art,” lists almost fifty instances of paintings reflected in filmography. Efendi’s archive hosts some well-known examples, such as Akira Kurosawa’s 1990 Dreams which reflected the pathos of Vincent van Gogh’s 1890 Wheatfield With Crows not just through cinematic solstice but also through metaphor. An unrecognizable Scorsese plays Van Gogh in Dreams, who, interspersed in a cinematic environment aided by Chopin, represents the pathos of the human condition, with Wheatfield With Crows posing as the setting as well as the story.

“The Birth of Venus” (1484-1485) has greatly influenced popular culture. The most well-known tribute is certainly the iconic scene from Terry Gilliam’s film “The Adventures of Baron Munchausen” (1988). The director takes Botticelli’s depiction and transposes it into a larger-than-life seashell, containing the goddess interpreted by Uma Thurman.

David Hockney is another artist whose work demonstrates a profound influence from cinematic techniques. Hockney’s vibrant use of color, dynamic compositions, and exploration of perspective and space reflect his interest in the visual language of film. His approach often involves experimenting with multiple perspectives and fragmented compositions, much like the editing techniques used in filmmaking.

The Pre-Raphaelite painter John Everett Millais had already depicted a similar scene in his work “Ophelia” (1851-1852). Ophelia, an iconic character from Shakespeare’s tragedy “Hamlet,” peacefully floats on the water, giving rise to a moment that is both gentle and mortuary. Surrounded by lilies, Justine (like Ophelia) already appears distant—has she already departed this world?

The atmosphere in the film scene faithfully captures the essence of the referenced artwork. Several nude women are lounging in a hammam, their postures similar, and even the blue turban worn by the woman in the background corresponds to the original painting.

Promotional image

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Release art

Het scaled Agile raamwerk SAFe® neemt toe in populariteit. In SAFe werkt een Agile Release Train (ART) aan het leveren van waarde voor de klant. In deze blog lees je wat een Agile Release Train is, hoe je een Agile Release Train inricht en de Agile Release Train rollen.

For HR leaders, this means more than just improved output—building a culture of collaboration and empowerment. Employees feel more engaged, accountable, and motivated when they understand how their efforts directly impact strategic goals.

This approach creates a work environment where every team member knows their role and feels empowered to contribute to a collective success. It also fosters a culture of continuous learning, where frequent retrospectives and feedback loops ensure that improvements are always on the horizon.

Implementing the ART can present challenges, including resistance to change, difficulty in aligning teams, and challenges in scaling Agile practices. However, with the right approach, these challenges can be overcome. By understanding the principles behind the ART, and by adapting these principles to the unique context of your organization, you can successfully implement the ART and realize its many benefits.

An Agile Release Train (ART) aims to bring together various agile teams under a shared mission so they can work seamlessly toward common business goals. By aligning teams on a consistent roadmap and a set cadence, ARTs help break down silos and ensure that every sprint and every increment contributes to the bigger picture. This alignment makes it easier to deliver products or services that truly add value and keep your organization competitive.