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SM City Cebu is a large shopping mall located in Cebu City, Philippines. It is the 4th shopping mall owned and developed by SM Prime Holdings, the country's largest shopping mall owner and developer. It is the company's first shopping mall outside Metro Manila and the 4th largest shopping mall in the Philippines. It has a land area of 11.8 hectares and a gross floor area of 268,611 m2 ( 2,891,300 sq ft ), becoming part of the world's 15 largest shopping malls and making it the 11th largest shopping mall in the world in 2009.
On an average day, more than 100,000 people visit SM City Cebu, with the figure increasing to 140,000 to 150,000 on weekends. Due to Cebu City's position as a transshipment point for the Visayas and Mindanao, and SM City Cebu's location close to the city's port area, the mall attracts a significant number of transient shoppers.
SM City Cebu proves that variety is the spice of life. You can find an array of exciting food choices, from fast food chains to elegant fine dining restaurants. You can also experience retail heaven with its many shops such as Oxygen, Penshoppe, Mango, Topshop, Promod, People Are People, The Body Shop, National Bookstore, Ace Hardware, Toy Kingdom, Toby’s Sport and much more.
The mall first opened in November 1993, and was seen as catering to the low and middle class of shoppers, in contrast to its upmarket competitor, Ayala Centre Cebu which opened a few months later. An expansion wing that particularly targeted upper class customers was added in 2007. As of 2009, the mall has undergone major renovations. Expansion plans with a hotel and convention centre are being developed. More shops are being proposed in 2012.
SM City Cebu is a four-level complex featuring eight cinemas with a total seating capacity of 8,848, a food court, a fully computerized bowling centre, 8,000-square meter amusement centre, and a 2,000-square meter trade hall. Before the addition of the North wing, it had a car park capacity of 1,629.
The North wing expansion, opened in 2007, features two floors of retail stores, restaurants, and cafes. It houses more than 200 tenants and caters to a more upscale clientele. The expansion also added three levels of covered parking, and a one level of roof deck parking.
SM City Cebu, opened on November 27, 1993 with an area of 161,562 m2 (1,739,040 sq ft ). Initially To attract shoppers, Manila-based movie and television stars and entertainers performed free concerts at the mall. Free jeepney rides to the mall were offered to fulfil the lack of available public transportation.
Construction on SM City Cebu's expansion building, dubbed the North wing, began in March 2006. The expansion, which was developed at a cost of Peso’s 1.3 billion ( US$30.5 million ), was built on the parking lot to the north of the existing building, temporarily decreasing the number of parking spaces by more than 30%. The North wing was started in April 2007, and opened in November 2007, featuring spacious hallways catering to the leisure market and upper class customers, while the existing mall, re dubbed as the South wing, is targeted for those who love the hustle and bustle. It increased the total gross floor area of SM City Cebu by 107,049 m2 ( 1,152,270 sq ft ), for a total of 268,611 m2
( 2,891,300 sq ft ).
IMAX ~ In early 2008, SM Prime Holdings signed a deal with IMAX Corporation for the opening of additional IMAX theatres, following the success of the country's first IMAX theatre at SM Mall of Asia. The IMAX theatre planned for SM City Cebu will replace cinema four screens. It will feature clearer picture quality due to its use of a digital projector rather than a film projector. A budget of Peso’s100-million ( $2.4 million ) was allotted for the renovation and was opened to the public last July 9, 2010 with James Cameron's Avatar in 3D
Certain belongings develop a personality. The lucky ones even get a name. I first met this little guy in a glass curio cabinet at a Goodwill store on Seneca in Eugene, Oregon USA. They usually kept things they thought were little treasures in this cabinet right by the cash registers. Generally, when I saw something in there, I thought it was out of my budget; so I passed this little guy by. I did think he was pretty cute, and I surely could have used a pin cushion. That evening I thought about him several times. I decided I would go back to Goodwill the next day and ask his price. I told myself if he were under $10, I would buy him, and if not, then I wouldn't. If he were gone, that would be my little Karma thing telling me he wasn't meant to be mine. Well, there he was in the glass cases, but a bit of glass was broken in the case next to his, and there was caution tape in some parts. I asked the clerk what had happened. She said they had been robbed during the night before (when I was thinking about the little bird). Basically the thief just went for certain items in the glass cases. An antique pin cushion wasn't on his list, I guess. I was essentially looking at a small crime scene. The clerk said the police had come and gone. I asked the price. She said $9.95; and I said I would take him. I took home my little purchase, and was thinking if only he could talk. He saw the whole thing. He could be a little snitch and identify the thief. So I named him Snitch Bird, and I have had him about a quarter of a century. I marvel to think of stories he could tell.
(2072snitchbirdredquiltoil2tuBIGinit) In the regular size on this opening page he is shown about 2 1/2 times normal size for detail.
"S" is for Snitch Bird
A vine has a firm grip on a tree near one of the older crypts in West Laurel Cemetery in Philadelphia, PA.
Technical details:
1947 Pacemaker Speed Graphic 4x5 large format film camera.
150mm Caltar-S II F 5.6 lens in Copal BT shutter.
Kodak Ektascan BR/A single-sided X-Ray film shot at ISO 100.
1/2 second at F22.
Developed in Adox Rodinal 1:100 dilution for 6 minutes, 20 seconds @ 20 degrees Celsius using Beseler 8x10 color print drum placed on Unicolor Uniroller 352 auto-reversing rotary base.
4x5" negative scanned with Epson V600.
This 4X5 pinhole camera has a light tight port that allows you to inject and remove developer, fixer, and wash. Pop open the back and your print is ready. It is a positive if you use Direct Positive Paper, as I did with my example.
Daylilies are seen almost on every farm house they line the old railway tracks and in the ditches out front of all homes in the subdivions in almost every town across North America. As far as in know this is the only Lily that is edible and delicious.Day Lilies (Hemerocallis species) – Slightly sweet with a mild vegetable flavor, like sweet lettuce or melon. Their flavor is a combination of asparagus and zucchini. Chewable consistency. Some people think that different colored blossoms have different flavors. To use the surprisingly sweet petals in desserts, cut them away from the bitter white base of the flower. Also great to stuff like squash blossoms. Flowers look beautiful on composed salad platters or crowning a frosted cake. Sprinkle the large petals in a spring salad. In the spring, gather shoots two or three inches tall and use as a substitute for asparagus. NOTE: Many Lilies contain alkaloids and are NOT edible. Day Lilies may act as a diuretic or laxative; eat in moderation. Information: Edible Flower Chart, Whats cooking.
Taken with a Zodiak-8 (Зодиак-8) 30mm fisheye lens on the Kiev 60 medium format camera that I first used in week 14 of my 52 film cameras in 52 weeks project:
Ilford FP4 Plus film, developed Ilfosol 3.
Ubud is a town on the Indonesian island of Bali in Ubud District, located amongst rice paddies and steep ravines in the central foothills of the Gianyar regency. One of Bali's major arts and culture centres, it has developed a large tourism industry.
Ubud has a population of about 30,000 people. Recently, it has become difficult to distinguish the town itself from the villages that surround it. The area surrounding the town is made up of small farms, rice paddies, and dense forest.
HISTORY
Eighth-century legend tells of a Javanese priest, Rsi Markendya, who meditated at the confluence of two rivers (an auspicious site for Hindus) at the Ubud locality of Campuan. Here he founded the Gunung Lebah Temple on the valley floor, the site of which remains a pilgrim destination.
The town was originally important as a source of medicinal herbs and plants; Ubud gets its name from the Balinese word ubad (medicine).
In the late nineteenth century, Ubud became the seat of feudal lords who owed their allegiance to the king of Gianyar, at one time the most powerful of Bali's southern states. The lords were members of the Balinese Kshatriya caste of Sukawati, and were significant supporters of the village's increasingly renowned arts scene.
Tourism on the island developed after the arrival of Walter Spies, an ethnic German born in Russia who taught painting and music, and dabbled in dance. Spies and foreign painters Willem Hofker and Rudolf Bonnet entertained celebrities including Charlie Chaplin, Noël Coward, Barbara Hutton, H.G. Wells and Vicki Baum. They brought in some of the greatest artists from all over Bali to teach and train the Balinese in arts, helping Ubud become the cultural centre of Bali.
A new burst of creative energy came in the 1960s after the arrival of Dutch painter Arie Smit (b. 1916) and the development of the Young Artists Movement.
The Bali tourist boom since the late 1960s has seen much development in the town; however, it remains a centre of artistic pursuit.
STREETS
The main street is Jalan Raya Ubud (Jalan Raya means main road), which runs east–west through the center of town. Two long roads, Jalan Monkey Forest and Jalan Hanoman, extend south from Jalan Raya Ubud.
BUILDINGS
Puri Saren Agung is a large palace located at the intersection of Monkey Forest and Raya Ubud roads. The residence of Tjokorda Gede Agung Sukawati (1910–1978), the last ruling monarch of Ubud, it is still owned by the royal family. Dance performances and ceremonies are held in its courtyard. The palace was also one of Ubud's first hotels, opening its doors back in the 1930s.
A number of Hindu temples exist, such as Pura Desa Ubud, which is the main temple, Pura Taman Saraswati, and Pura Dalem Agung Padangtegal, the temple of death. The Gunung Kawi temple is the site of the royal tombs. Goa Gajah, also known as the Elephant Cave, is located in a steep valley just outside Ubud near the town of Bedulu.
The Moon of Pejeng, in nearby Pejeng, is the largest single-cast bronze kettle drum in the world, dating from circa 300BC. It is a popular destination for tourists interested in local culture.
ECONOMY
The economy of Ubud is highly reliant on tourism which focuses on culture, yoga and nature. In contrast to the main tourist area in southern Bali, the Ubud area has forests, rivers, cooler temperatures and less congestion although traffic has increased dramatically in the 21st century. A number of smaller "boutique"-style hotels such as the historic Tjampuhan Hotel are located in and around Ubud, which commonly offer spa treatments or treks up nearby mountains.
CULTURE
The town and area has a number of art museums, such as the Blanco Renaissance Museum, the Puri Lukisan Museum, Neka Art Museum, and the Agung Rai Museum of Art. Close-by is the Museum Rudana in Peliatan,
The Tek Tok is a traditional Balinese dance that is accompanied by musical sound of mouth 'Tek Tok' altogether with various combinations of body movement and other sounds. Tek Tok dance tale taken from the Mahabharata, where Draupadi at stake in a gambling.
The war between righteousness and villainy become part of the philosophy of life which has never dimmed. The story "Draupadi Parwa" Tek Tok Dance gives a moral message which when a woman who embodies the values of patience, sacrifice, compassion, devotion, and a holy sincerity is not respected, then disasters and calamities will befall a kingdom or state. This story also gives the message that truth, virtue, devotion and genuine compassion will always be protected by God. Tek Tok Dance performance held regularly in Bali Culture Center (BCC) Ubud, Bali four times a week.
NATURE
The Ubud Monkey Forest is a sacred nature reserve located near the southern end of Jalan Monkey Forest. It houses the temple of death, and approximately 340 crab-eating macaque (Macaca fascicularis) monkeys live there.
The Campuhan ridge walk is a hill from where one can see two rivers Tukad Yeh Wos Kiwa and Tukad Yeh Wos Tengen merge. There are one meter wide of paving block track about two kilometers to the top of the hill.
WIKIPEDIA
Saturday Safari Byfield, an amazing location and a great day.
Pentax 67 55mm Takumar,
Velvia 50 E-6 Cross processed in C-41 Self developed.
Bad developing by shop => Blue chemical stains on entire roll => having to pull the brightness and darks => picture too dark
I will revisit here sometime to retake this shot and have it developed properly.
Pentax67, 45mm, Kodak Portra 400
200iso C41 film expired 15 years ago. Developed in HC110 1+47 for 10 minutes. 10 minutes fix then 20 minutes in fix + lemon juice to clear some off the un-developed colour layer masking.
A stiff paper is best, but there's a lot of stress where the curves meet the edge, so you'll want a tough paper, too. Something long fiber.
Developed in Raw Photo Processor with P160NC output profile
Virtually "printed" with "Kodak Endura Glossy Paper" profile and grain effect applied in Dehancer plugin for Adobe Photoshop
Final color tweaks made in Adobe Photoshop
SCAMP, the class name of this little pram, stands for Small Craft Advisor Magazine Project. It was developed by New Zealand designer John Welsford for the Port Townsend-based magazine Small Craft Advisor. Designer/Builder Kees Prins helped to further develop the design. smallcraftadvisor.com/
The boat is 11 feet 11 inches long overall, has a beam of 5 feet 4 inches, and a draft of 7 inches with its offset centerboard up. It is ballasted with 173 pounds of water that is drained when the boat is hauled up the launching ramp, and consequently is easily towed behind any small vehicle such as Subaru Outback. smallcraftadvisor.com/scamppagemenu
It is considered a "micro-cruiser", and can sleep one person on a 8 foot 3 inch berth or two people on a 6 foot 6 inch berth. It accomplishes this massive amount of room in such a short length both because it is pram-bowed, meaning the vee-bow ends just above the water and flares into a flat transom, which significantly enhances available space, and because the centerboard is offset to one side (and is, in fact, nestled into the right-hand seat). As a result, four average-sized adults can easily fit into the cockpit with room to spare.
The boat can be built from plans or from a kit, both available from Small Craft Advisor. It has proven to be a very popular design, with dozens and dozens built to date all over the world.
Small Craft Advisor maintains a very active online discussion board for the boat, here: smallcraftadvisor.com/message-board2/viewforum.php?f=3
You will find designer John Welsford here: www.jwboatdesigns.co.nz/index.html
John Welsford's design page, which showcases the range of his boats and has lot of great interaction, is on Facebook, here: www.facebook.com/groups/440526479459574/
Building and sailing classes are offered by The Pocket Yacht. You can find out more, here: www.thepocketyacht.com/ .
For a continuing discussion of SCAMPs, check out the WoodenBoat forum thread "SCAMP Envy and Lust", here: forum.woodenboat.com/showthread.php?139540-SCAMP-envy-lust
And for even more pictures of SCAMPs, check here: www.flickr.com/groups/2722238@N23/
Leica IIIA, Summitar, orange filter, Kentmere 400
Developed in Studional 1:15 for 4 minutes
Scanned on Epson 4490
The Douglas C-47 Dakota is a military transport aircraft developed from the civilian Douglas DC-3 airliner. It was used extensively by the Allies during World War II and remains in front line service with various military operators to the present day.
The C-47 differed from the civilian DC-3 in numerous modifications, including being fitted with a cargo door and strengthened floor, along with a shortened tail cone for glider-towing shackles, and an astrodome in the cabin roof.
During World War II, the armed forces of many countries used the C-47 and modified DC-3s for the transport of troops, cargo, and wounded. The U.S. Naval designation was R4D. More than 10,000 aircraft were produced in Long Beach and Santa Monica, California and Oklahoma City, Oklahoma. Between March 1943 and August 1945 the Oklahoma City plant produced 5,354 C-47s
The C-47 was vital to the success of many Allied campaigns, in particular those at Guadalcanal and in the jungles of New Guinea and Burma, where the C-47 (and its naval version, the R4D) made it possible for Allied troops to counter the mobility of the light-traveling Japanese army. Additionally, C-47s were used to airlift supplies to the embattled American forces during the Battle of Bastogne. Possibly its most influential role in military aviation, however, was flying "The Hump" from India into China. The expertise gained flying "The Hump" was later be used in the Berlin Airlift, in which the C-47 played a major role, until the aircraft were replaced by Douglas C-54 Skymasters.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
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Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
The 133rd Airlift Wing’s human resource advisor and Wing Culture Council, held a special brown bag lunch and guest speaker in St. Paul, Minn., Feb. 23, 2014. Airmen from the Wing gathered after to converse and laugh with the speaker, Andre Koen, about his informative and interactive discussion on developing cultural competencies. (U.S. Air National Guard photo by Senior Airman Kari Giles/Released)
秋日的某天 (不是只有一天)．一如以往．走走拍拍．生活+點滴．人事+光影．是記錄的事實．也是回憶的準備．2015 秋天的汐止小鎮…
.
註：「小鎮」要比大都會好多了，光是 "人少"、"無所謂流行" 以及 "不會太濃的人情味"，就好得剛好到位。
.
Notes:
1. With a greedy mind, film tail was torn apart from spool winding the last frame... (darn!)
Luckily, I got a changing bag (暗袋), and reusable cartridges that helped me from such a situation :-)
2. Yes, with fresh film, plus a little over (exposure), this vintage RF camera works well (to me )... == [使用新鮮的底片，並稍微地 over (過曝) 一些些，這部老相機拍出來的影像似乎還 OK。]
.
* PS - This roll got exposed on 2015/09/05, developed/scanned by a local studio 天虹數位影像 2015/09/12, and re-scanned with "Epson Perfection V600 Photo" on 2015/09/13.
Using pioneering new technologies in Superfoods and nutrition, CFTRI has developed amazing new products which are on show at CFTRI stall at Pragati Maidan:
· Chia and Quinoa based Chocolates and Laddoos;
· Omega-3 enriched ice-cream;
· Multigrain banana bar
· Fruit juice based carbonated drinks.
New Delhi, 24th November, 2016: CSIR-Central Food Technological Research Institute (CFTRI), the premier national institute for food technology is exhibiting a range of new agri-products now grown in India, called Superfoods that bring health and nutrition best practices to everyday eating and living to the common man. The exhibits by CFTRI at the Trade Fair at Pragati Maidan in New Delhi both impress and surprise with the range and scope of their utility and potency.
The Indian population is presently going through a nutrition transition and there is an increase in incidence of diabetes, impaired heart health and obesity while there is still rampant malnutrition in the nation.
Keeping in mind an effective solution needed to address these concerns, CSIR-CFTRI is working on bringing Superfoods to the Indian population. CFTRI works on various facets of food technology, food processing, advanced nutrition, Superfoods and allied sciences. Superfoods are foods which have superior nutrition profiles which upon regular consumption can help improve health and wellness of the consumer.
CFTRI has developed the agro-technology for growing Superfoods viz. Chia and Quinoa in Indian conditions. Chia is the richest source of omega-3 fats from a vegetarian source and Quinoa has excellent protein quality and low glycemic load carbohydrates. Comprehensively, Chia and Quinoa have potential to improve population health and both blend seamlessly into traditional food preparations.
CSIR-CFTRI also infuses the spirit of entrepreneurship in their students. One of the doctoral students after completing her academic program started her own technology provider start-up company, Oleome Biosolutions Pvt Ltd. In a global first, CSIR-CFTRI in collaboration with Oleome, has developed a 100% vegetarian, Omega-3-enriched Ice cream called “Nutriice” using Chia oil.
CSIR-CFTRI is also in the process of the final phase of testing of diacylglycerol (DAG) oil, a unique cooking oil that has “Anti-Obesity” functionalities. One can consume it as part of daily regular diet and while the oil is available as energy but does not get stored as fat in our bodies. The final phase of human clinical trial is presently under progress.
CFTRI has also designed and developed snacks with advanced nutrition designs to support the nutrition needs of growing children. These have been implemented in the aganwadi levels to complement the existing government mid-day meal and will be scaled up soon. The products, such as Nutri Chikki with spirulina, rice beverage mix, high protein rusk, energy food, nutri sprinkle, seasame paste and fortified mango bars have been well received by the children and the anganwadis alike. Multi-grain Banana bar is a new addition to in this product portfolio.
Another exciting area of multidisciplinary research being done at CSIR-CFTRI is on nanotechnology, food technology and nutrition. Nanomaterials are known for their characteristic properties and CSIR-CFTRI is working on the use of nanoparticles for various applications. One of our interesting developments is the design and development of food packaging material with nanoparticles with antimicrobial and antioxidant properties to improve shelf-life of processed foods.
CSIR-CFTRI is also working on “Smart Foods” to answer specific needs of the consumer. These promising and specifically designed innovations are being developed for better sleep, better skin health, improved digestion, better cognitive performance and better stress management. The high science is brought into a simple food product, like a cereal bar which helps one to be more attentive over the day, or a unique dosa mix that helps in working out better at the gym with lower perceived exhaustion and even a special soup to help sleep better at night!
Speaking on the sidelines of the CSIR-CFTRI exhibition at Pragati Maidn, Prof. Ram Rajasekharan, Director, CFTRI said “Our mandate is to find innovative solutions to India agricultural and nutritional challenges. Our aim is to develop products to make Indian agriculture productive, efficient and at a consumer level gradually replace drugs with foods that will promote better health and wellness. We strive to deliver our best in improving food security and nutrition security, also developing a stronger, smarter and healthier India”.
About CSIR-CFTRI:
CSIR − Central Food Technological Research Institute (CFTRI), Mysore (A constituent laboratory of Council of Scientific and Industrial Research, New Delhi) came into existence during 1950 with the great vision of its founders, and a network of inspiring as well as dedicated scientists who had a fascination to pursue in-depth research and development in the areas of food science and technology.
CSIR-CFTRI is today a large and diversified laboratory headed by Prof. Ram Rajasekharan, Director, CSIR-CFTRI. Presently the institute has a great team of scientists, technologists, engineers, technicians, skilled workers, and support staff. There are seventeen research and development departments, including laboratories focusing on lipid science, molecular nutrition, food engineering, food biotechnology, microbiology, biochemistry, food safety etc.
The institute has designed over 300 products, processes, and equipment types. It holds several patents and has a large number of high impact peer reviewed journal articles to its credit. India is the world's second largest food grain, fruit and vegetable producer, and the institute is engaged in research and development in the production and handling of grains, pulses, oilseeds, spices, fruits, vegetables, meat, fish, and poultry.
The institute develops technologies to increase efficiency and reduce postharvest losses, add convenience, increase export, find new sources of food products, integrate human resources in food industries and develops solutions to improve the health and wellness of the population.
CFTRI has a vast portfolio of over 300 products, processes and equipment designs, and close to 4000 licensees have availed themselves of these technologies for commercial exploitation. The achievements have been of considerable industrial value, social importance and national relevance, and coupled with the institute's wide-ranging facilities and services, have created an extensive impact on the Indian food industry and Indian society at large.
Image Description from historic lecture booklet: "After the place has been established for ten years the shrubbery is developed, trees have grown up along side the house and arbors have been constructed. very often there is a flag pole in the front yard."
Original Collection: Visual Instruction Department Lantern Slides
Item Number: P217:set 067 051
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