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Il rapporto perfetto richiede attrazione fisica, mentale e sentimentale. Se manca una componente il rapporto è claudicante, se ne mancano due è passatempo , se mancano tutte è puro masochismo.
Anonimo
The perfect relationship requires physical attraction, mental and emotional. If a component is missing, the relationship is lame, if two components are missing is a pastime, if they lack all is pure masochism.
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Belgian Air Component General Dynamics F-16AM Fighting Falcon FA-70 from 349 Squadron based at Kleine Brogel on static display at RIAT 2017. The special scheme celebrates the 75th anniversary of the 349th Squadron.
drums crowned by tapering domes were deliberately scored to resemble candles, thus manifesting a certain aesthetic and religious attitude.Why are onion domes predominant in Russian architecture?
soumis il y a 3 ans par res3k
Does it have any connection to similar domes in mosques?
Onion domes are predominant in Russian architecture because they became an important stylistic component of Russian Orthodox church design. According to what I have read, the dome's importance comes from symbolic and technical aspects. Russian onion domes have complex symbolic associations, from the classic "vault of heaven" to their appearance as tongues of flame, recalling the holy spirit. On the technical side, you have the often repeated theory that the domes were an adaptation to the climate, especially Russia's heavy snowfalls. The wooden construction of the onion dome would also have been a plus for Russian architects, was this material was in greater supply than the stone necessary for traditional, byzantine-style dome construction.One final reason for the predominance of the onion dome in Russian architecture: the origin of the dome and the associations that come with its origin. Russian church architecture, which features the dome most prominently out of all, is heavily influenced by Byzantine architecture. As Orthodox Christianity was the predominant religion, it follows that Russian builders sought to emulate the styles of the center of Orthodox Christianity, namely Constantinople. This architectural tradition places high importance on centrally-planned, domed spaces. This architectural tradition was combined in Russia with the native wooden-building traditions that have much in common with Scandinavia. These traditions stressed complex, creative wooden constructions with strong vertical components such as steeply pitching roofs and elaborate frameworks. The onion dome is a product of the combination of these two traditions. One source, an examination of the origin of the domes by S. V. Zagraevsky, argues that the domes were a Russian development in the 13th to 14th centuries along these lines--that Russian carpenters, skilled in complex woodwork from both building construction and shipbuilding (alluding to Rus's Scandinavian roots) developed the onion dome independently in order to fulfill the need for domes over Byzantine-influenced churches using wooden construction. This form of dome becomes widespread in the medieval period, thus cementing itself into "tradition" and becoming an essential part of Russian architecture.Note on sources and origins: like always, the story is far more complex than can be presented, and I would invite an expert on Russian culture to step in. The origins of the onion dome are shrouded as no original wooden domes from the period survive and scholars are forced to work from written and illustrative documentary evidence, which is open to varied interpretation. What I have read also presents two conflicting stories: that onion domes were a product of Indian and Byzantine sources that combined in the Islamic world, or that they were the products of independent developments that settled on the onion shape to suit their own technical or symbolic needs and which are only distantly connected to other similar designs in Central Europe, Russia, the Middle East, India. What is conclusive is that the widespread use of these domes dates back at least to the 12th-13th centuries. On sources, the most recent source on onion domes in English that I found (thanks to wiki) was Forms of the domes of the ancient Russian temples. Other works, such as National Elements in Russian Architecture and The Origin and the Distribution of the Bulbous Dome date back to the 1940s, but provide good insight into wooden dome architecture (note: these are JSTOR links). The wiki article on the Onion dome has a good introduction on these domes and has a list of sources, although many of them are in Russian.
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[–]intangible-tangerine 1 point il y a 3 ans*
This is a story which begins with early Slavic Christian Religious architecture, which exerted a strong influence on secular architecture on the region. I'm just going to generalise and use 'church' here for all buildings used for Christian religious services, not bothering to distinguish between churches and basilicas and cathedrals and so forth as I don't wish to over complicate matters.
When the Kievan Rus, a confederation of Slavic tribes living in parts of modern day Russia, Belarus and Ukraine, were gradually Christianised from the mid 8th to the early 11th c. they were primarily influenced by missions from the Byzantine Church and so they adapted the Byzantine dome for their own church architecture. However, whereas Byzantine Churches usually featured a large central dome, as can be seen with the most famous example, the Hagia Sophia these early medieval Slavic churches feature several smaller domes with the characteristic bulging onion shape, see the Cathedral of Saint Sophia in Novgorod built in the late 11th c. which may be due to some influence from earlier Slavic pagan architectural styles that are lost to us. Perhaps reflecting earlier buildings with multiple tower structures or bulged roofs.
This onion dome hasn't been completely dominant through all of the history of Russian and Eastern European Christian architecture, during the later medieval period a fashion for pointed roofs emerged, such as that of the 15th c. Spasskaya Tower in Moscow. Nevertheless the onion domed towers continued to be built alongside these. Sometimes the two styles were used simultaneously as seen with this early 16 th church at Ostrov, near Moscow where a pointed roof is topped off with a small dome.
... and so this story continues, waves of architectural fashions such as 17th c Ukrainian Baroque and 19th c Neo-Classical Byzantine sweep through the region, some of which typically incorporate onion domes and some of which don't, but it never disappears from the architects' tool kits. Because it was associated so strongly with the original conversion of the Keivan Rus, regarded as the common ancestor culture of Russia Ukraine and Belarus, it was had strong connotations of connecting later structures to this past and tying them in with a narrative of distinctive Russian/Slavic identity.
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True or not an architect once told me that the shape was heavily influenced by Russian climatology, with significant quantities of snow along the year this shape prevents the snow to accumulate on the roofs hence they would not collapse under the snow weight.You seem to be downvoted as a non-historian, but the hypothesis if very plausible. Initially church architecture in Russia was obviously very influenced by the Byzantine architecture, and domes were either egg-shaped, or even flatter than that (modern reconstruction of the Pirogoshcha Church of Our Lavy in Kiev, Ukraine)). But then in Russia they were quickly replaced by so called "helmet domes" (example: Dormition Cathedral in Vladimir, Russia). And it is this transition that might have been indeed influenced by the simple snow factor.
Starting as of XIII and for sure by XVI century helmet domes gradually evolved into onion domes. I don't know why it happened. Maybe, in a way, it "just happened", because all styles tend to evolve somewhere, and it does not always happen for particular reason, or serve a particular purpose.
I am not quite sure I can endorse what intangible-tangerine said in the comment nearby about secular architecture being an example here. Secular architecture in Russia was overwhelmingly wooden, and the only major type of brick "domes" that evolved from wooden domes is the tent roof church, which was quite popular for a while, but was then officially prohibited in XVII century for some reason, and allowed only for construction of bell-towers. It is rather uncomfortable to make a roundish dome, be it egg-, helmet-, or onion-shape one out of wood (even though it is technically possible). I am also not aware of any evidence for pre-Christian, or secular round dome-like structures in Russian architecture.As for pagan temples, it looks like Slavic pagan shrines were almost always located outdoors. While among Western Slavs some temples might have apparently existed, for some reason in modern reconstructions they are always depicted quite squarish in design (but here I am not sure, as the whole topic of Slavic Paganism is a rather sketchy one, due to a strong influence from romantic neo-pagan groups).
[+]Centurion521 nombre de points du commentaire sous la limite (11 enfants)
www.reddit.com/r/AskHistorians/comments/1gb89y/why_are_on...
An onion dome (Russian: луковичная глава, lúkovichnaya glava; compare Russian: лук, luk, "onion") is a dome whose shape resembles an onion. Such domes are often larger in diameter than the drum upon which they sit, and their height usually exceeds their width. These bulbous structures taper smoothly to a point.It is the predominant form for church domes in Russia (mostly on Russian Orthodox churches) and in Bavaria, Germany (German: Zwiebelturm (literally "onion tower"), plural: Zwiebeltürme, mostly on Catholic churches), but can also be found regularly across Austria, northeastern Italy, Eastern Europe, Mughal India, the Middle East and Central Asia.
Other types of Eastern Orthodox cupolas include helmet domes (for example, those of the Saint Sophia Cathedral in Novgorod and of the Assumption Cathedral in Vladimir), Ukrainian pear domes (Saint Sophia Cathedral in Kiev), and Baroque bud domes (St. Andrew's Church in Kiev).Art historians disagree on when and why onion domes became a typical feature of Russian architecture. Byzantine churches and architecture of Kievan Rus were characterized by broader, flatter domes without a special framework erected above the drum. In contrast to this ancient form, each drum of a Russian church is surmounted by a special structure of metal or timber, which is lined with sheet iron or tiles.By the end of the nineteenth century, most Russian churches from before the Petrine period had bulbous domes. The largest onion domes were erected in the seventeenth century in the area around Yaroslavl, incidentally famous for its large onions. Quite a few had more complicated bud-shaped domes, whose form derived from Baroque models of the late seventeenth century. Pear-shaped domes are usually associated with Ukrainian Baroque, while cone-shaped domes are typical for Orthodox churches of Transcaucasia.Russian icons painted before the Mongol invasion of Rus do not feature churches with onion domes. Two highly venerated pre-Mongol churches that have been rebuilt—the Assumption Cathedral and the Cathedral of St. Demetrius in Vladimir—display golden helmet domes. Restoration work on several other ancient churches revealed some fragments of former helmet-like domes below newer onion cupolasPrior to the eighteenth century, the Russian Orthodox Church did not assign any particular symbolism to the exterior shape of a church.[10] Nevertheless, onion domes are popularly believed to symbolise burning candles. In 1917, noted religious philosopher Prince Yevgeny Trubetskoy argued that the onion shape of Russian church domes may not be explained rationally. According to Trubetskoy, drums crowned by tapering domes were deliberately scored to resemble candles, thus manifesting a certain aesthetic and religious attitude.[11] Another explanation has it that the onion dome was originally regarded as a form reminiscent of the edicula (cubiculum) in the Church of the Holy Sepulchre in Jerusalem. Onion domes often appear in groups of three, representing the Holy Trinity, or five, representing Jesus Christ and the Four Evangelists. Domes standing alone represent Jesus. Vasily Tatischev, the first to record such interpretation, disapproved of it emphatically. He believed that the five-domed design of churches was propagated by Patriarch Nikon, who liked to compare the central and highest dome with himself and four lateral domes with four other patriarchs of the Orthodox world. There is no other evidence that Nikon ever held such a view.brightly painted: their colors may informally symbolise different aspects of religion. Green, blue, and gold domes are sometimes held to represent the Holy Trinity, the Holy Spirit, and Jesus, respectively. Black ball-shaped domes were once popular in the snowy north of Russia.
Broooooosaurus”
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+ Components Details +
♦️ Body: ToddleeDoo – Baby Fitted Body
♦️ Head: ToddleeDoo – Bento Head #Flora /NEW
♦️Skin: {Pity Party} – Aster Flora Skin (BOM) / 9 Tones to Choose – Roselline
♦️ Hair: Unorthodox– 21Sav Locs // Mesh Flexy Hair ( HSV color hud and 3 base colors to change to virtually any color!)
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♦️ Outfit: [Vk!]Clem Set Saurus – Woodland Event
The magnificent Ja Vonne Hatfield, as seen grooving along on the 18th street overpass in Potrero Hill, San Francisco.
Para el Reto de noviembre de Beads Perles tenemos que elaborar tres componentes sueltos, que posteriormente pudieran ser montados para formar una joya.
Como todavía no me he olvidado de los pendientes de la reina, he hecho estas tres piezas de aire renacentista, con cabus de 8, rocalla y perlas.
Haré otro trío si alguna idea más termina de tomar cuerpo.
Argh, finally a chance to get some people in my pictures and then I point my camera too high..
Guessed right: it's (pseudo single raw) HDR. The difference between the shadow and sunlit part of the street was far too great.
Photo captured via Minolta MD Zoom Rokkor-X 75-200mm F/4.5 lens. Second Beach. Part of the Quillayute Needles, a consortium of battered islands and sea stacks. Quillayute Needles National Wildlife Refuge. Olympic National Park. Coast Range. Olympic Peninsula. Clallam County, Washington. Late May 2016.
Exposure Time: 1/800 sec. * ISO Speed: ISO-200 * Aperture: F/8 * Bracketing: None
I retrieved this piece from some 'junk' that was being thrown out. I think it is an early homemade variable inductor. The two end pieces are hinged on small nails. At one time either side could be made to stay at any distance from the central coil. Has anyone else seen one of these? It reminds me of the Crosley 'book condensers'.
This photograph is a view of stacking the major components of the S-IC (first) stage of the Saturn V vehicle at the Boeing vertical assembly building at the Michoud Assembly Facility. This view shows the Saturn V first stage thrust structure being placed for the final assembly. The Saturn IB and Saturn V first stages were manufactured at Michoud, located in New Orleans, Louisiana. The prime contractors, Chrysler and Boeing, jointly occupied Michoud. The basic manufacturing building boasted 43 acres under one roof. By 1964, NASA added a separate engineering and office building, vertical assembly building, and test stage building. By 1966, other changes to the site included enlarged barge facilities and other miscellaneous support buildings. All of this took place leading up to the Apollo 11 mission on July 16, 1969-launching astronauts to the Moon. NASA is returning America to the Moon in the next five years. This time we won't go alone, but in a way that reflects the world today-with government, industry, and international partners in a global effort to build and test the systems needed for challenging missions to Mars and beyond.
Image credit: NASA
Should have some kind of voltage/warning sticker but I don't have any so these yellow/black stripes should do.
Oostmalle, 5 August 1983.
The Belgian Air Component has 4 Piper L21B Super Cubs in use for towing military gliders of the Air Cadets. They are based at Goetsenhoven, east of Brussels.
Six were acquired in 1975, all former Netherlands Air Force. Two were written off. Between 2000 and 2002 the remaining four (LB01, 02, 03 and 05) were almost completely rebuilt. They received a new fuselage, wing and engine.
The photos were taken at Oostmalle, a Cold War reserve base near Antwerpen.
LB01 is former Dutch R-152 and 54-2442.
Photo captured via Minolta MD Zoom Rokkor-X 24-50mm F/4 lens and the bracketing method of photography. Palouse Region within the Columbia Plateau Region. Whitman County, Washington. Late December 2017.
Exposure Time: 1/250 sec. * ISO Speed: ISO-200 * Aperture: F/8 * Bracketing: +1 / -1 * Color Temperature: 6050 K * Film Plug-In: Fuji Superia 400 ++
Multiple integrated circuits at the heart of Europe’s space missions, etched together onto a single piece of silicon.
This 20 cm-diameter wafer contains 35 replicas of five different space chips, each incorporating up to about 10 million transistors or basic circuit switches.
Laid down within a microchip, these designs endow a space mission with the ability to perform various specialised tasks such as data handling, communications processing or attitude control.
To save money on the high cost of fabrication, various chips designed by different companies and destined for multiple ESA projects are crammed onto the same silicon wafers, etched into place at specialised semiconductor manufacturing plants.
Once tested for functionality, the chips on the wafer are chopped up and packaged for use, then mounted on printed circuit boards for connection with other microelectronic components aboard a satellite.
Since 2002, ESA’s Microelectronics section has maintained a catalogue of ‘building blocks’ for chip designs, known as Intellectual Property cores, available to European industry through ESA licence.
More information: www.esa.int/Our_Activities/Space_Engineering_Technology/M...
Credit: ESA-Guus Schoonewille
Standing face-to-face with the detector felt surreal. It’s this incredible portal capturing traces of particles from collisions that mimic the birth of the universe. At 100 metres below Geneva, surrounded by wires and glowing lights, I couldn’t help but feel like I’d stepped into the heart of a science fiction story come to life.
One quintessential component to any effective military is simply communication. The presence of a robust telecommunications network ensures nearly any armed force is able to mobilize units effectively and therein able to counter the efforts of the enemy. Indeed nearly every element of NATO's order of battle is able to send and receive data in real-time, therein giving the alliance a three-dimensional impression of the battlefield. This ability to rapidly map the combat space has given Western armies a leg up in almost every campaign they've been involved with, including their stabilization efforts in the Balkans and Eastern Europe more broadly.
Lacking the funds and diverse domestic electronics industry to create parity with the West's fine-tuned command and control network, Yugoslavia instead focused on manufacturing select technologies to mute NATO's constant data transmissions. The M-104 is one iteration of this effort as it was designed as a terrestrial electronic warfare suite capable of intercepting or otherwise corrupting wireless transmissions from UAVs, radios, and so forth. In effect, NATO's Stabilization Force (SFOR) in Eastern Europe has often found its ISR operations interfered with by unidentifiable sources. For nearly two years the organization was unaware that Yugoslavia possessed the means to inflict such localized information blackouts. After a bout of FININT, however, it was discovered the JNA had shadily purchased rights to West Russian EW technology. This purchase was laundered extensively, so it's no wonder it took some time before NATO was able to discover it.
Regardless, the JNA--or more accurately, the Black Cross terror organization--has utilized the Ozhwiena to great effect. During the hotter spells of the conflict in Ukraine, dozens of donated UAVs had their relay components fried and several sorties by piloted SFOR aircraft had to be written off after "substantial external interference compromised targeting and transmission modules" aboard the offending jets. Although NATO has committed a considerable number of clandestine and overt assets to counter the threat to their battlefield information monopoly, the operators of the M-104 are often highly trained and are able to avoid getting blasted thanks to the conservative use of the EW systems and rapid deployment times. It's very uncommon for the same truck to linger in an area for more than a day and even then it often has some sort of anti-aircraft coverage lingering nearby to bite back against confident pilots. If electronic warfare technologies like those found in the Ozhwiena are allowed to proliferate in Eastern Europe--and indeed East Asia as well--then NATO and its allies are likely going to need to re-train themselves in more primitive information conveyance methods. Perhaps the carrier pigeon isn't totally outmoded after all.
A printed circuit board (PCB) mechanically supports and electrically connects electronic components using conductive tracks, pads and other features etched from copper sheets laminated onto a non-conductive substrate. PCBs can be single sided (one copper layer), double sided (two copper layers) or multi-layer (outer and inner layers). Multi-layer PCBs allow for much higher component density. Conductors on different layers are connected with plated-through holes called vias. Advanced PCBs may contain components - capacitors, resistors or active devices - embedded in the substrate.
Printed circuit boards are used in all but the simplest electronic products. Alternatives to PCBs include wire wrap and point-to-point construction. PCBs require the additional design effort to lay out the circuit, but manufacturing and assembly can be automated. Manufacturing circuits with PCBs is cheaper and faster than with other wiring methods as components are mounted and wired with one single part. Furthermore, operator wiring errors are eliminated.
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In this photo I have the units broken into groups, Armoured, Artillery, Engineers, Transport, SF, Historical and RAEME
Belgian Air Component's General Dynamics F-16 Fighting Falcon display aircraft taxiing to the runway before commencing its display at the 2011 RAF Waddington International Air Show.
Some cool turning parts images:
Pont Alexandre III
Image by David McA Photographs
A long exposure shot of the Seine at the Pont Alexandre III, a wonderfully ornate bridge more than the Seine by the Grand Palais in Paris.
I liked the way that the low evening sun lit up the gilded parts of the...
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(Posted by a Precision Machining China Manufacturer)
Taken with Polaroid SX-70 | Polaroid Time Zero (exp. 12/06) | Jun18 | If you could stretch a given minute what would you find between its unstuck components? ―Don DeLillo, Great Jones Street, 121 | New York City, NY
RN02 - cn.1041/NBEN02 - 40 Squadron - 1 Wing - Belgian Air Component - Koksijde AB
Belgian NH90 conducting a SAR demo following a navigation flight during Search and Rescue Meet 2016 held at Koksijde AB.
© Nicholas Thompson - All Rights Reserved
Koksijde AB - 11 Oct 16
The Royal Society of Natural Philosophy has established a school house for the Eslandolan settlement of Weelond on bequest of the settlement's Mayor.
A freebuild for Brethren of the Brick Seas. Heavily based on this excellent MOC here.
biennialfoundation.org/2016/12/biennials-four-fundamental...
Biennials: Four Fundamentals, Many Variations
By Terry Smith 07 Dec 2016
When we look back at the century plus history of recurrent survey exhibitions of contemporary art––those we call biennials, triennials, and (at Kassel, itself expanding) documentas––we can see that they slowly established a set of distinctive protocols, that were formalized during the 1980s, then rapidly replicated throughout the world, while at the same time steadily increasing in size and scope. It is also evident that, today, the distinctive characteristics of the biennial form are everywhere being exceeded, as they, like every other component of artworlds everywhere, fall subject to the current frenzy of code-switching. What were those protocols, the features that became distinctive and fundamental? I will identify four, and then note some of the ways in which they are changing.
Studies such as Charles Green and Anthony Gardner’s Biennials, Triennials, and Documentas: The Exhibitions that created Contemporary Art (2016), are giving us a nuanced understanding of the historical unfolding of the biennial form. Biennials have proliferated globally, in successive waves, according to the specific needs in different parts of the world, and to the interplay between them. The result is a dense field of mobility between artists, curators, gallerists, critics, collectors and visitors––especially on an international level––that is unprecedented in its quantity, scope, and variety. It is obvious that the biennial has become as structural to what is usually called “the artworld” in any particular place as every other element in what amounts to a visual arts exhibitionary complex. Secondly, it is precisely their core format, one that offers the reliable repetition of unpredictable difference, which secured their relevance, enabled their expansion, and may ensure their longevity. Third, biennials have become essential to contemporary art’s evidently international character, many would say its “globality,” although I will argue more specifically that they have been the primary platform of the transnational transitionality that has shifted the core locus of art making, distributing and valuing from used to be called the West, moved it South and then East, within regions of the these regions, and thus, now, everywhere. It is this in-transit energy that drives much contemporary art today, throughout the world and in most of the traditional and modern centers. Finally, biennials have also become structural to contemporary art’s very contemporaneity, reflecting its preferred forms in that they have become distributed events, in their localities and across the world. As such, they too are subject to the larger changes effecting communicative exchange everywhere, including network culture’s mediatization of the social.
1. Biennials have become structural within the contemporary visual arts exhibitionary complex
Biennials share with all exhibitionary formats the fundamental purpose of holding something out for inspection, of showing items––as the definition of the word “exhibition” (in English dictionaries, at least) tells us––publicly, for entertainment, instruction, or in a competition. Within the larger exhibitionary complex, these purposes characterize distinct kinds of displays, which are usually held in specialized venues: for example, music halls, public museums, or sporting fields. Annual artist society exhibitions, since their origins in France and England during the seventeenth century, have emphasized contestation between artists, attitudes, and genres as manifest in freshly-made works of art: competition to gain entry to the academy, competition for prizes, then competition for sales. Since Venice in 1895, and Pittsburgh’s Carnegie International from 1896, recurrent exhibitions all over the world have sought to fulfill all three purposes at once.
So, as the first fundamental but not unique characteristic of a visual arts biennial exhibition, we can establish this proposition: that it offers, in one place, a display of the contemporary art of the world in ways that are entertaining, instructive, and competitive, all at the same time. Doing all these things at once begins to distinguish them from exhibitions in art museums. Biennials are, crucially, exhibitionary events, as distinct from displays of the kind exemplified most clearly in the permanent collection rooms of a modern art museum (where continuity over time is emphasized, and change is understood as a modification or eruption within the evolutionary narrative of art’s history), and from temporary exhibitions in such museums (which usually explore in more detail and depth aspects of the history of art that are exemplified in a more general way in the collection display rooms––including the rooms that show the recent past as an opening towards an unspecified present). Being events, rather than primarily an assembly of art objects on display, is what makes biennials contemporary.
The logic and dynamic of the biennial differs from the core logic and dynamic of the modern art museum. Such museums alternate between relatively static displays of their permanent collections and a program of temporary exhibitions of artworks that usually, yet not always nor entirely, come from somewhere else, often from another museum or a private collection. Within this framework, the biennial occurs as an alternative to both the collection and the temporary exhibition, while at the same time having some features of both. (Some museums––notably the Carnegie Museum of Art, Pittsburgh, host to the Carnegie International, and the Queensland Gallery of Modern Art, host to the Asia Pacific Triennial––acquire works from biennials, often the prize-winning works, thus continually reshaping their collections.) During the boom years of the 1990s and 2000s, the controlled dynamic between collection and temporary exhibitions that previously prevailed at the modern museum was disrupted by the biennial, which regularly offered different models of what both the collection rooms and temporary exhibitions program might become. This is still an important effect of biennials in most cities in most parts of the world, and effect that is still unfolding. In contrast, in some cities, such as Sydney, that has mounted a Biennale since 1973, the local museums that regularly host biennials (the Art Gallery of New South Wales, and the Museum of Contemporary Art) have worked hard to absorb them into their programming, framing them as if they were temporary exhibitions that happen to be recurrent. My instinct is that, in such cases, we are seeing the modern museum working with, but also struggling against, the artworld expectation that today all art should be open to being experienced as contemporary. More broadly, museums and galleries of all kinds are widely expected to be spaces in which art can be experienced in ways continuous with the socially mediated prosumption of images that today is spreading across all exhibitionary platforms, actual and virtual.
2. Condensed contemporaneity, every two years
The simple fact of it occurring every two years has become the most widely adopted characteristic of a biennial. It is often forgotten that the Venice International Exhibition only became a biennial some years after 1895 (indeed, its organization was made systematic during the 1920s and 1930, the fascist years in Italy). Why has this rather mechanical, pragmatic aspect of staging big-scale exhibitions become so definitive? I suggest that it is because, while they occur every two years, and are in that sense repetitions, biennials offer difference each time. They must do this, because they are, usually, committed to showing contemporary art, or recent and past art in so far as it is relevant to contemporary circumstances. Contemporary art, by its own constant redefinition, is an art of becoming, of happenings, occurrences, and occasions. While its content may include material from any time, it is precisely because it typically engages with more than a single temporality at the same time that contemporary art requires the event as its form of appearance. When contemporary art is slowed down––for example, as part of a chronological history of art display in a museum, it ceases to be contemporary, although it maintains the distinctive character of having been contemporary within the contemporaneity that we still share with it. Artworks shown in biennials may be subsequently shown at art fairs, and may be acquired by museums, but, unlike most other exhibitionary venues, neither commerce nor historical valiance is their primary purpose or source of value. Rather, it is to show a purposeful selection from, or as wide a range as possible of, the art being made in the world right now. This is why biennials have––overwhelmingly, and, until recently, almost entirely––shown new, or at least recent work, and have favored work made for the occasion, and specifically for the site. It is this impulse that underlies the preponderance of new media, videos, and installations of various kinds, as well as their openness to research-based, archival, and “social practice” work that is less readily shown in museums and commercial galleries. Biennials share these preferences with not-for-profit, alternative art spaces.
In these ways, biennials typically concentrate contemporary energy in one place, or a related set of places, for a specified time. They are a double-sided form: reliable in their recurrence, but open-ended in their actualization. We do not know what art will be like two years from now, but we can expect that it will be different. Therefore, biennials can be counted on to build anticipation beforehand, and to surprise us when they happen. A regularly timetabled openness to contemporaneity––to art to come, whatever it may be––is the second most distinctive feature of biennials.
Rustic beads made using the techniques in the Rustic Beads and Components Tutorial.
Copyright © 2014 by Ginger Davis Allman The Blue Bottle Tree, all rights reserved.
The green toenail of the statue, the names in gold, the Belgian blue stone and the liberation photo: the pieces of a puzzle of historic reality, now long gone.
Needed to get the roll of film out of the camera because it should be finished but advanced it and there was one more shot worth of film, took a picture, advanced it and hit the end, popped the lever to wind the exposed film back into magazine to drop it off at Long's Drugs on Shaw and First in Fresno, California.
Componente del Grupo "Avant Garde Dance", que con el espectáculo de variedades "The Silver Tree" nos cautivaron en el Festival Internacional de Teatro y Artes de Calle de Valladolid (2010).
The spectrum of surface illumination depends upon solar elevation due to atmospheric effects, with the blue spectral component from atmospheric scatter dominating during twilight before and after sunrise and sunset, respectively, and red dominating during sunrise and sunset. These effects are apparent in natural light photography where the principal source of illumination is sunlight as mediated by the atmosphere.(Wikipedia)