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WAGNR RMX - Philipp Geist
WGNR rmx 2013 - PHILIPP GEIST
Light Installation / Video Mapping Installation
New City Hall Bayreuth from July 7th to August 28th On the occasion of Richard Wagner’s 200th birthday the Berlin artist Philipp Geist (1976) develops a comprehensive light and video mapping installation on the external walls of the New City Hall in Bayreuth over a period of 40 nights. The artist dismisses the use of screens and projects his artistic image and light projections directly onto the facade. The projection merges with the location and invites visitors to linger around the New City Hall. The art installation is going to be further developed and enhanced during the mentioned period.
The subject of the artistic installation is Richard Wagner and his works; images, words, quotes, and associations from his operas are artistically interpreted and incorporated into the installation. These terms and quotations from Wagner's operas are projected in a "carpet of words" and abstract verbal images on the facade. With his pictorial language the artist Philipp Geist develops his own artistic interpretation of Wagner's themes. Geist creates a dialog between the location, i.e. the New City Hall, the visitors, and the artistic works of Richard Wagner. In the process, the access to the "Wagner" topic is complex: On a first direct level, concepts and images of his major works will be displayed on the facade by means of the visual language of Philipp Geist. Visitors will be inspired by individual characters and scenes from the rich repertoire of fine arts, from paintings and illustrations, especially from the 19th century. However, the characters and scenes will be alienated and integrated into the abstract structures of Philipp Geist’s worlds of images. Known Wagner themes, such as fire, natural phenomenons, and symbols like the ring, the sword, and the storm as a mirror for the inner turmoil, can be re-experienced and emerge as quotes in the form of images. In this way the installation demonstrates connections in a non-narrative manner and thus admits a different modern and contemporary access to Wagner’s works.
In this manner the radiant face of the hero appears in order to darken and vanish in the next moment. The great void comes into sight through the building bathed in darkness symbolizing the fraud, the vile and the dark side existing in men.
A scenery appears for an instant to dissolve in a flash into a graphic pattern again. Pristine landscapes turn into pixels and remind the viewer of the actual romantic ideal.
The Rheingold shines and sparkles through a hinted blue surface of water to crumble to dust a moment later. Gray and white particles float over the facade; the material transience is almost palpable.
The symbolism of the colors is adopted from the works: white sails become black, and vice versa; for the contemporary video projection technology it is easy to decide instantly on fateful questions. The sails may also turn into colorful triangles and fly away over the facade as a graphic pattern. At the same time, it is the random and ludic character of the installation that lures out the tragic and borne nature of the Wagner pathos and allows viewers of any age to envision uncountable points of contact. The installation celebrates Wagner, but it also uncovers critical voices: polarizations like genius and kitsch clash together and cover the building as one, quotes as Wagner’s "Aber, aber, was sollen die Sentimentalitäten" [But for all that, what’s the point of all these sentimentalities] wander along the facade.
On another level the approaches followed by Wagner matter for Geist’s installation: Wagner crossed the boundaries between the different arts and contents. He allied image and sound, music and stories, symphony and legends. Also Geist’s installation is influenced by Crossover: the multimedia artist creates a synergetic work on the City Hall giving rise to images from texts and mixing the analog with the digital by painting with light and his computer
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
WAGNR RMX - Philipp Geist
Lichtinstallation / Video-Mapping-Installation
Bayreuth Neues Rathaus 20.07.2013 bis 28.08.2013
KONZEPT PHILIPP GEIST
Anlässlich des 200. Geburtstags von Richard Wagner entwickelt der Berliner Künstler Philipp Geist (1976) über den Zeitraum von 40 Abenden eine flächendeckende Licht- und Video-Mapping-Installation auf das Neue Rathaus in Bayreuth. Dabei verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert seine künstlerischen Bild- und Lichtprojektionen direkt auf die Fassade. Die Projektion verschmilzt mit dem Ort und lädt Besucher zum Verweilen am Neuen Rathaus ein. Über den Zeitraum der Installation wird die künstlerische Installation weiterentwickelt und ergänzt. Inhalt der künstlerischen Installation ist Richard Wagner und sein Werk; Bilder, Begriffe, Zitate und Assoziationen aus seinen Opern werden künstlerisch interpretiert und in die Installation eingebaut. Dabei werden Begriffe und Zitate aus Wagners Opern als Wörterteppich und abstrakten Wort-Bilder auf die Fassade projiziert. Der Künstler Philipp Geist entwickelt mit seiner Bildsprache seine eigene künstlerische Interpretation der Wagner-Themen. Geist entwickelt einen Dialog zwischen dem Ort, also dem Neuen Rathaus, den Besuchern und dem künstlerischen Werk von Richard Wagner. Der Zugang zum Thema „Wagner“ ist dabei vielschichtig. Zum Einen auf einer ersten, direkten Ebene, werden Begriffe und Bilder seiner Hauptwerke in der Bildsprache von Philipp Geist auf der Fassade zu sehen sein. Einzelne Figuren und Szenen aus dem reichen Repertoire der Bildenden Kunst, aus Gemälden und Illustrationen v.a. aus dem 19. Jahrhundert werden dem Besucher begegnen. Sie werden jedoch verfremdet und in die abstrakten Strukturen von Philipp Geists Bilderwelten integriert. Bekannte Wagner-Themen wie das Feuer, Naturereignisse und Symbole wie der Ring, das Schwert, und den Sturm als Spiegel für die innere
Aufruhr werden neu erfahrbar gemacht und tauchen als Bildzitate in der Installation auf. Die Installation zeigt so in nicht narrativer Art Zusammenhänge auf und lässt somit einen anderen modernen und zeitgenössichen Zugang zu dem Werk Wagners zu. So erscheint das strahlende Gesicht des Helden, um sich im nächsten Moment zu verdüstern und zu verschwinden. Die große Leere erscheint durch das in Dunkel getauchte Gebäude und symbol- isiert den Betrug, das Niederträchtige und Düstere im Menschen. Eine Szenerie taucht auf, um gleich wieder in ein grafisches Muster zu zerfließen. Unberührte Landschaften werden zu Pixeln und führen dem Betrachter vor Augen, dass es sich um ein romantisches Ideal handelt. Das Rheingold strahlt und funkelt durch die blaue angedeutete Wasseroberfläche hindurch, um im nächsten Moment zu Staub zu zerfallen. Graue und weiße Partikel schweben über die Fassade, die materielle Vergänglichkeit wird geradezu greifbar. Die Symbolik der Farben wird aus dem Werk übernommen, weiße Segel werden zu schwarzen und umgekehrt, es ist der zeitgenössichen Videoprojektionstechnik ein Leichtes, ganze Schicksalsfragen zu entscheiden. Vielleicht werden die Segel auch zu bunten Dreiecken und fliegen als grafisches Muster über die Fassade davon. So ist auch das Zufällige und Spielerische Merkmal der Installation, die das Tragische und Getragene des Wagner-Pathos herausfordert und eine Vielzahl von Anknüpfungspunkten für das Publikum jeden Alters ermöglicht. Die Installation feiert Wagner, macht aber auch kritische Stimmen sichtbar: Polarisierungen wie „Genie“ und „Kitsch“ treffenen aufeinander und ziehen sich gemeinsam über das Gebäude, Zitate wie Wagners: „Aber, aber, was sollen die Sentimentalitäten“wandern die Fassade entlang. Auf einer weiteren Ebene werden die Ansätze, welche Wagner verfolgte, auch für Geists Installation von Bedeutung sein: Wagner überschritt die Grenzen der verschiedenen Künste und Inhalte. Er brachte Bild und Ton, Musik und Geschichten, Symphonie und Sagen zusammen. Auch die Installation von Geist ist geprägt vom Crossover: Der Multimedia-Künstler erschafft ein synergetisches Werk auf dem Rathaus, lässt aus Texten Bilder entstehen und mischt Analoges mit Digitalem, indem er mit Licht und dem Computer malt.
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
Studio Philipp Geist
Post Box (Postfach) 080311
10003 Berlin/ Germany
Leipziger Str. 6610117 Berlin Studio PHILIPP GEIST - Leipziger Str. 66 - 10117 Berlin
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.
Across the developing world, some 70 million girls under the age of 18 are married. Most of these girls have been taken out of school, are pregnant or parenting, and face a greater risk of being a victim of gender-based violence and contracting sexually transmitted infections, including HIV. While we know of their risks, there is much that we do not know about the daily lives of these girls or how to better meet their health care needs.
Join USAID’s Office of HIV/AIDS, the International Center for Research on Women, CARE, and Pathfinder International as they present findings on their work with married adolescent girls living in Bangladesh, Ethiopia, West Africa, and other low-resource regions.
Read more: www.wilsoncenter.org/event/underage-addressing-reproducti...
ODC, Apr 26, 2023; Finally FINISHED shooting enough rolls of color film to justify mixing C41 chemistry. I think this represents close to 10 months worth of film and I don't remember what camera I used for any of the rolls.
Intrepid 4x5 Camera
Schneider-Krueznach 135mm f/5.6
Arista EDU Ultra 100
Developed with Rodinal 1:25
Weymouth originated as a settlement on a constricted site to the south and west of Weymouth Harbour, an outlying part of Wyke Regis. The town developed from the mid 12th century onwards, but was not noted until the 13th century. By 1252 it was established as a seaport and became a chartered borough. Melcombe Regis developed separately on the peninsula to the north of the harbour; it was mentioned as a licensed wool port in 1310. French raiders found the port so accessible that in 1433 the staple was transferred to Poole. Melcombe Regis is thought to be the first port at which the Black Death came into England in June 1348, possibly either aboard a spice ship or an army ship. In their early history Weymouth and Melcombe Regis were rivals for trade and industry, but the towns were united in an Act of Parliament in 1571 to form a double borough. Both towns have become known as Weymouth, despite Melcombe Regis being the main centre. The villages of Upwey, Broadwey, Preston, Wyke Regis, Chickerell, Southill, Radipole and Littlemoor have become part of the built-up area.
King Henry VIII had two Device Forts built to protect the south Dorset coast from invasion in the 1530's: Sandsfoot Castle in Wyke Regis and Portland Castle in Castletown. Parts of Sandsfoot have fallen into the sea due to coastal erosion. During the English Civil War, around 250 people were killed in the local Crabchurch Conspiracy in February 1645. In 1635, on board the ship Charity, around 100 emigrants from the town crossed the Atlantic Ocean and settled in Weymouth, Massachusetts. More townspeople emigrated to the Americas to bolster the population of Weymouth, Nova Scotia and Salem, Massachusetts; then called Naumking. There are memorials to this on the side of Weymouth Harbour and near Weymouth Pavilion and Weymouth Sea Life Tower. The architect Sir Christopher Wren was the Member of Parliament for Weymouth in 1702, and controlled nearby Portland's quarries from 1675 to 1717. When he designed St Paul's Cathedral, Wren had it built out of Portland Stone, the famous stone of Portland's quarries. Sir James Thornhill was born in the White Hart public house in Melcombe Regis and became the town's MP in 1722. Thornhill became an artist, and coincidentally decorated the interior of St Paul's Cathedral.
The resort is between the first modern tourist destinations, after King George III's, brother the Duke of Gloucester built a grand residence there, Gloucester Lodge, and passed the mild winter there in 1780; the King made Weymouth his summer holiday residence on fourteen occasions between 1789 and 1805, even venturing into the sea in a bathing machine. A painted statue of the King stands on the seafront, called the King's Statue, which was renovated in 2007/8 by stripping 20 layers of paintwork, replacing it with new paints and gold leaf, and replacing the iron framework with a stainless steel one. A mounted white horse representing the King is carved into the chalk hills of Osmington. Weymouth's esplanade is comprised of Georgian terraces, which have been converted into apartments, shops, hotels and guest houses. The buildings were constructed in the Georgian and Regency periods between 1770 and 1855, designed by architects such as James Hamilton, and were commissioned by wealthy businesspeople, including those that were involved in the growth of Bath. These terraces form a long, continuous arc of buildings which face Weymouth Bay along the esplanade, which also features the multi-coloured Jubilee Clock, erected in 1887 to mark the 50th year of Queen Victoria's reign. Statues of Victoria, George III and Sir Henry Edwards, Member of Parliament for the borough from 1867 to 1885, and two war memorials stand along the Esplanade.
In the centre of the town lies Weymouth Harbour; although it was the reason for the town's foundation, the harbour separates the two areas of Melcombe Regis ( the main town centre ) and Weymouth ( the southern harbour side ) from each other. Since the 18th century they have been linked by successive bridges over the narrowest part of the harbour. The present Town Bridge, built in 1930, is a lifting bascule bridge allowing boats to reach the inner harbour. The Royal National Lifeboat Institution stationed a lifeboat at Weymouth for the first time on 26 January 1869. A boathouse was built with a slipway by the harbour and is still in use, although the lifeboat is now moored at a pontoon.
I visited this Fort on the 4th August 2017 and was surprised by the layout and the interesting exhibits found here at this unusual and well maintained Fort. Nothe Fort is a fort in Weymouth, Dorset, England. The fort is situated at the end of the Nothe Peninsula, which juts eastwards from the town of Weymouth, and Weymouth Harbour, into the sea to the north of ex-military Portland Harbour. The fort is located next to Nothe Gardens. The coastal defence was built between 1860 and 1872 by 26 Company of the Royal Engineers to protect Portland's harbour, which was then becoming an important Royal Navy base. Shaped like the letter D, the fort's guns covered the approaches to both Portland and Weymouth harbours. The design included bomb-proof casemates for cannons arranged around the circular sides, and deep magazines beneath the straight, landward side. The fort played an important role in World War II, when the harbour was used as base by the British and American navies.
In 1956 the fort was abandoned, and in 1961 the local council purchased it. It is now a museum. The fort remains one of the best-preserved forts of its kind in the country, and the fort and its outer gateway has been a Grade II listed building since June 1974. Its fusee steps have been Grade II listed since November 2000. These are located within Nothe Gardens, linking the car park area down to the Nothe Parade – the quay of Weymouth's Harbour. The inclined tramway and steps were built circa 1860. The three flights of steps include a low flanking wall of rendered brick, on which are placed wrought-iron plate rails, forming an inclined tramway for trolleys with double-flange wheels. It was constructed for hauling trolleys transporting ammunition, spares and stores from the quay to Nothe Fort. In October 1978, the Nothe Fort, tramway and searchlight battery at The Nothe, also became scheduled under the Ancient Monuments and Archaeological Areas Act 1979 as they appeared to the Secretary of State to be of national importance.
The 6152/1 was the original '40/'50s combat diver watch developed by Panerai for the Italian navy. A further evolution of this model would in the '90s be revived as the more modern and mainstream Panerai Luminor watch.
I greatly prefer the styling of the classic 6152/1 and wanted a watch that had the vintage looks, but a more modest modern 44mm case size. This piece was custombuilt and has the '1950' style curved case, double pencil brass hands, base sandwich dial, superlume, domed plexiglass, ammo leather strap and a vintage (1952) Molnija 3601 movement. The Molnija is significant because the original 6152/1 had a Rolex movement, made by Cortebert. Cortebert licensed this design to the Russian Molnija, which makes this movement the spiritual brother of the Rolex movement in the original watch.
This photo was not taken by me, but by the watchmaker.
Central World Plaza was a shopping plaza and complex, in Bangkok, Thailand It was the second largest shopping complex in Southeast Asia, after SM City North EDSA of the Philippines. The complex, which included a hotel and office tower, was owned by Central Pattana. In 2006, after three years of design and renovation, Central World Plaza was expanded to 550,000 square metres of shopping mall and 1,024,000 square metres of complex, topping its nearby rival Siam Paragon in terms of size.
On May 19, 2010, Central World Plaza was gutted by fire set by rioters in the aftermath of a military operation against anti-government protesters known as Red Shirts. Thai media reported that a portion of the building had collapsed and the building had been declared a danger zone because of fears of the complex entirely collapsing, and that the building would have to be demolished.
Originally called the World Trade Center, the eight-story mall was opened in 1990. Central Group acquired the property in 2002 from the Wang Petchaboon group and soon thereafter renamed it Central World Plaza, and in 2005 re christened it Central World. It is on Crown Property Bureau land. In its acquisition, the Central Group's property development arm, Central Pattana ( SET: CPN ), secured a new 30-year lease on the site.
Expecting the opening of the luxury Siam Paragon, CPN started massive renovations and expansion on the site in 2003. The original mall structure was 300,000 square meters. The expansion plans boosted that to 550,000 square meters. Though the work had not yet been completed, CPN held an official opening of the renovated complex on July 21, 2006, and it was expected to be fully operational by October 2006. As of May 2007 the mall was fully opened but some premises in parts of the upper floors remain still vacant. Major exterior construction was ongoing on the hotel situated in the northwest corner of the mall, and the extension floors to the ZEN department store in southeast corner.
The renovated complex aimed to attract 150,000 customers per day, spending more than seven billion Baht annually. It marketed itself as a middle class shopping centre, opposed to the upper class-marketed Siam Paragon.
At first, Central World did not appear to reach its goal in term of daily visitors due to several reasons, including political turmoil and ongoing economic downturn. However, shopper numbers soon increased, though reliable figures are hard to find. Bangkok's New Year countdown gatherings were held in front of Central World, a tradition that developed in recent years, with the number of people increasing steadily.
The PCs shown in this image are located immediately behind a practical skills area in the college encouraging students in developing blended learning techniques. Located outside a restaurant and gallery area students are able to access electronic information and demonstrate/practice skills in a 'real' situation.
"Revved up like a deuce, another runner in the night..."
Olympus OM-1 w M.Zuiko 12-40/2.8 Pro
ISO 80 f/11 40mm +0.7ev
Single frame raw developed in DxO PhotoLab 9.2, colour graded in Nik 8 Color Efex and finished off back in PhotoLab.
Boonerah Point, Lake Illawarra, Shellharbour, NSW
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.
Harvested energy cane harvest
U.S. Department of Agriculture USDA Agricultural Research Service ARS Sugarcane Research Unit scientists developed and released a new high-fiber variety of sugarcane, or energy cane, Ho 06-9002, in Houma, LA, and continue their research on December 13, 2021. Sugarcane is one of the most efficient producers of biomass of all plant species and can be used as a renewable fuel. The new variety has a high fiber content, excellent regrowth ability over 4 to 5 years, is cold-tolerant, has a high stalk population, and produces excellent biomass yields. Ho 06-9002 showed no symptoms of brown rust or smut when exposed to high levels of natural inoculum. Mosaic disease, caused by either sugarcane mosaic virus or sorghum mosaic virus, was not observed in the variety under natural field conditions. Its most significant attribute is cold tolerance and the ability to yield high biomass in non-traditional sugarcane growing regions.
Left, the Sugarcane Research Unit Tractor Operator Jerome Guidry harvests energy cane with a combine while research geneticists, scientists, and technicians hand tag and bundle samples from test crops in these rows of sugarcane. Center, Biological Science Technician Cory Landry walks and stands at markers that identify the variety along the row and signals the combine harvester operator when the blades reach the marker. Then each small harvest is transferred to a weigh wagon behind the tractor. Right, Agronomist Edwis Dufrene is a Category III support scientist that runs the off-station testing for the breeding program, where today, he runs a tractor and weigh trailer to record the weight of the test energy cane.
Ten canes of each variety are collected, tagged, and bundled for delivery to the USDA ARS Sugarcane Research Unit at Ardoyne Farm for weighing and testing. Onboard the harvester and hopper units, GPS and scale systems record the harvest weight and location of each variety.
These test plots are at the Spanish Trails Farm near Houma, La. The ongoing studies are conducted in cooperation with the Department of Energy; university extensions, and industry organizations.
usda.gov
ars.usda.gov
ars.usda.gov/southeast-area/houma-la/sugarcane-research/
USDA Media by Lance Cheung.
Monarch. I did not see a lot of these this year.
Lens was a Tokina 100mm macro on a 2x teleconverter.
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Weymouth originated as a settlement on a constricted site to the south and west of Weymouth Harbour, an outlying part of Wyke Regis. The town developed from the mid 12th century onwards, but was not noted until the 13th century. By 1252 it was established as a seaport and became a chartered borough. Melcombe Regis developed separately on the peninsula to the north of the harbour; it was mentioned as a licensed wool port in 1310. French raiders found the port so accessible that in 1433 the staple was transferred to Poole. Melcombe Regis is thought to be the first port at which the Black Death came into England in June 1348, possibly either aboard a spice ship or an army ship. In their early history Weymouth and Melcombe Regis were rivals for trade and industry, but the towns were united in an Act of Parliament in 1571 to form a double borough. Both towns have become known as Weymouth, despite Melcombe Regis being the main centre. The villages of Upwey, Broadwey, Preston, Wyke Regis, Chickerell, Southill, Radipole and Littlemoor have become part of the built-up area.
King Henry VIII had two Device Forts built to protect the south Dorset coast from invasion in the 1530's: Sandsfoot Castle in Wyke Regis and Portland Castle in Castletown. Parts of Sandsfoot have fallen into the sea due to coastal erosion. During the English Civil War, around 250 people were killed in the local Crabchurch Conspiracy in February 1645. In 1635, on board the ship Charity, around 100 emigrants from the town crossed the Atlantic Ocean and settled in Weymouth, Massachusetts. More townspeople emigrated to the Americas to bolster the population of Weymouth, Nova Scotia and Salem, Massachusetts; then called Naumking. There are memorials to this on the side of Weymouth Harbour and near Weymouth Pavilion and Weymouth Sea Life Tower. The architect Sir Christopher Wren was the Member of Parliament for Weymouth in 1702, and controlled nearby Portland's quarries from 1675 to 1717. When he designed St Paul's Cathedral, Wren had it built out of Portland Stone, the famous stone of Portland's quarries. Sir James Thornhill was born in the White Hart public house in Melcombe Regis and became the town's MP in 1722. Thornhill became an artist, and coincidentally decorated the interior of St Paul's Cathedral.
The resort is between the first modern tourist destinations, after King George III's, brother the Duke of Gloucester built a grand residence there, Gloucester Lodge, and passed the mild winter there in 1780; the King made Weymouth his summer holiday residence on fourteen occasions between 1789 and 1805, even venturing into the sea in a bathing machine. A painted statue of the King stands on the seafront, called the King's Statue, which was renovated in 2007/8 by stripping 20 layers of paintwork, replacing it with new paints and gold leaf, and replacing the iron framework with a stainless steel one. A mounted white horse representing the King is carved into the chalk hills of Osmington. Weymouth's esplanade is comprised of Georgian terraces, which have been converted into apartments, shops, hotels and guest houses. The buildings were constructed in the Georgian and Regency periods between 1770 and 1855, designed by architects such as James Hamilton, and were commissioned by wealthy businesspeople, including those that were involved in the growth of Bath. These terraces form a long, continuous arc of buildings which face Weymouth Bay along the esplanade, which also features the multi-coloured Jubilee Clock, erected in 1887 to mark the 50th year of Queen Victoria's reign. Statues of Victoria, George III and Sir Henry Edwards, Member of Parliament for the borough from 1867 to 1885, and two war memorials stand along the Esplanade.
In the centre of the town lies Weymouth Harbour; although it was the reason for the town's foundation, the harbour separates the two areas of Melcombe Regis ( the main town centre ) and Weymouth ( the southern harbour side ) from each other. Since the 18th century they have been linked by successive bridges over the narrowest part of the harbour. The present Town Bridge, built in 1930, is a lifting bascule bridge allowing boats to reach the inner harbour. The Royal National Lifeboat Institution stationed a lifeboat at Weymouth for the first time on 26 January 1869. A boathouse was built with a slipway by the harbour and is still in use, although the lifeboat is now moored at a pontoon.
I visited this Fort on the 4th August 2017 and was surprised by the layout and the interesting exhibits found here at this unusual and well maintained Fort. Nothe Fort is a fort in Weymouth, Dorset, England. The fort is situated at the end of the Nothe Peninsula, which juts eastwards from the town of Weymouth, and Weymouth Harbour, into the sea to the north of ex-military Portland Harbour. The fort is located next to Nothe Gardens. The coastal defence was built between 1860 and 1872 by 26 Company of the Royal Engineers to protect Portland's harbour, which was then becoming an important Royal Navy base. Shaped like the letter D, the fort's guns covered the approaches to both Portland and Weymouth harbours. The design included bomb-proof casemates for cannons arranged around the circular sides, and deep magazines beneath the straight, landward side. The fort played an important role in World War II, when the harbour was used as base by the British and American navies.
In 1956 the fort was abandoned, and in 1961 the local council purchased it. It is now a museum. The fort remains one of the best-preserved forts of its kind in the country, and the fort and its outer gateway has been a Grade II listed building since June 1974. Its fusee steps have been Grade II listed since November 2000. These are located within Nothe Gardens, linking the car park area down to the Nothe Parade – the quay of Weymouth's Harbour. The inclined tramway and steps were built circa 1860. The three flights of steps include a low flanking wall of rendered brick, on which are placed wrought-iron plate rails, forming an inclined tramway for trolleys with double-flange wheels. It was constructed for hauling trolleys transporting ammunition, spares and stores from the quay to Nothe Fort. In October 1978, the Nothe Fort, tramway and searchlight battery at The Nothe, also became scheduled under the Ancient Monuments and Archaeological Areas Act 1979 as they appeared to the Secretary of State to be of national importance.
SONY a7II + SIGMA MC-11 ( SA-E ) + 100-400mm F5-6.3 DG OS HSM C017 “ light bazooka ”
Developed by Adobe Photoshop Lightroom CC 2015.10
Pietro Perugino, born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
He was born Pietro Vannucci in Città della Pieve, Umbria, the son of Cristoforo Marie Vannucci. His nickname characterizes him as from Perugia, the chief city of Umbria. Scholars continue to dispute the socioeconomic status of the Vannucci family. While certain academics maintain that Vannucci worked his way out of poverty, others argue that his family was among the wealthiest in the town. His exact date of birth is not known, but based on his age at death that was mentioned by Vasari and Giovanni Santi, it is believed that he was born between 1446 and 1452.
Pietro most likely began studying painting in local workshops in Perugia such as those of Bartolomeo Caporali or Fiorenzo di Lorenzo. The date of the first Florentine sojourn is unknown; some make it as early as 1466/1470, others push the date to 1479. According to Vasari, he was apprenticed to the workshop of Andrea del Verrocchio alongside Leonardo da Vinci, Domenico Ghirlandaio, Lorenzo di Credi, Filippino Lippi and others. Piero della Francesca is thought to have taught him perspective form. In 1472, he must have completed his apprenticeship since he was enrolled as a master in the Confraternity of St Luke. Pietro, although very talented, was not extremely enthusiastic about his work.
Perugino was one of the earliest Italian practitioners of oil painting. Some of his early works were extensive frescoes for the convent of the Ingessati fathers, destroyed during the Siege of Florence; he produced for them also many cartoons, which they executed with brilliant effect in stained glass. A good specimen of his early style in tempera is the tondo (circular picture) in the Musée du Louvre of the Virgin and Child Enthroned between Saints.
Perugino returned from Florence to Perugia, where his Florentine training showed in the Adoration of the Magi for the church of Santa Maria dei Servi of Perugia (c. 1476). In about 1480, he was called to Rome by Sixtus IV to paint fresco panels for the Sistine Chapel walls. The frescoes he executed there included Moses and Zipporah (often attributed to Luca Signorelli), the Baptism of Christ, and Delivery of the Keys. Pinturicchio accompanied Perugino to Rome, and was made his partner, receiving a third of the profits. He may have done some of the Zipporah subject. The Sistine frescoes were the major high Renaissance commission in Rome. The altar wall was also painted with the Assumption, the Nativity, and Moses in the Bulrushes. These works were later destroyed to make a space for Michelangelo's Last Judgement.
Between 1486 and 1499, Perugino worked mostly in Florence, making one journey to Rome and several to Perugia, where he may have maintained a second studio. He had an established studio in Florence, and received a great number of commissions. His Pietà (1483–1493) in the Uffizi is an uncharacteristically stark work that avoids Perugino's sometimes too easy sentimental piety.
A Town of One, Two, Three.
The story of Gawler, the first town developed outside of Adelaide in 1839 is the story of numbers. Colonel William Light, after he resigned as Surveyor General for SA, formed a private surveying company with his friend and former Assistant Surveyor Boyle Finniss. (Remember Boyle Finniss became our first Premier in 1854.) They did some commercial surveying; they surveyed a sort of village along the Sturt River at what is now Marion; but the only other town apart from Adelaide that they surveyed and laid out was Gawler.
•Their township of Gawler had three squares- Light, Orleana and Parnell. Light had planned for the squares to be the centres for the Anglican, Presbyterian and Catholic churches. It did not quite work out like that!
•Light carefully sited this town on a ridge of high ground between three rivers –the North Para, South Para and Gawler Rivers. The first two rivers join just below Light’s town to form the Gawler River which flows out to the sea. The town grew quickly for a non mining town and became the 19th century industrial hub of SA.
•The first settlers around the town grew wheat and consequently flour milling became the first industry with three flour mills –the Albion Mill, the Victoria Mill and the Union Mill.
•The farmers needed plough disks, windmills, strippers and winnowers and other farm machinery. The Gawler residents wanted fancy wrought iron lace work to adorn the verandas of their houses and cottages. So from the mid 19th century Gawler became a town of three foundries- the May Brothers Foundry, the Eagle Foundry and the Phoenix Foundry.
•Like all country towns in the 19th century Gawler was dominated socially by a select group of business and social leaders. In Gawler the well respected and known leaders of the 19th century were three prominent men- Walter Duffield - the flour miller, James Martin - the foundry man and John McKinley - the explorer.
Some Unique Aspects of Gawler’s History.
The origins of Gawler are unique in SA. When the Special Surveys of 1839 were offered for those with £4,000 to select 4,000 acres in an area of the person’s choice, a group of farming settlers who had voyaged out together on the ship the Orleana clubbed together to purchase a Special Survey at the junction of the North and South Para Rivers. Those settlers were John Reid, Henry Dundas Murray, E. Jerningham, Stephen King, William Porter, Patrick Tod, James Fotheringham, John Patterson, Thomas Stubbs, John Sutton, Robert Tod and the Reverend Howard. You will see many of these names on the street signs of Church Hill. These pioneering men came to a strict agreement and each donated a certain number of acres for the township of Gawler (named after the Governor of the day) in proportion to the total number of acres they had purchased from the 4,000 acres. Most of this group purchased around 300 acres and donated 7½ acres for the town and parklands but John Reid, Henry Murray, E Jerningham and
Stephen King purchased between 530 and 932 acres each. Hence the main street of Gawler is Murray Street. John Reid was the first to settle in the town and built a house called Clonlea. Stephen King built his sandstone mansion, Kingsford along the North Para a couple of miles out of Gawler. It was used for the TV series McLeod’s Daughters but is now an upmarket bed and breakfast establishment. Some of the others from this Special Survey appear to have sold their land and moved on quickly rather than settling in the emerging township. Fotheringham stayed and set up the town’s first brewery.
Social aspects and a sense of civic pride were always strong in Gawler. It was remarkable that in 1859 this small “gateway to the north” sponsored a competition for a national song to be conducted by the Institute Committee. As we all know Mrs Caroline Carleton won the competition. The Song of Australia was sung in all SA primary schools and was one of the options voted upon for the new national anthem in the 1970s. The music for the song was written by German born Carl Linger and the lyrics and music were first presented in the Gawler Oddfellows Hall in December 1859. The town also offered a prize for a written history of SA in 1861. Henry Hussey won that award. Also in 1859 the township opened the first museum in SA. At one time Mr Schomburgk, who later became Director of the Botanic Gardens, was the curator of this museum. Gawler also formed the Humbug Society in 1859 to consider social and political issues of the day and in 1863 the town established its own newspaper, which is still published, called the Bunyip. In later years it was unique in building so many steam railway engines that were used in SA or exported for use in other states.
How can we use open data to develop services that support communities to buy cheaper energy, use it more efficiently or potentially make their own?
This challenge invited teams including businesses, startups, social enterprises, community groups, academics, students and special interest groups to collaborate and compete with each other to use open data to build services that support communities to either:
- Group buy their energy and save money;
- Undertake community based energy efficiency interventions;
- Start to generate their own energy.
Developed in the mid-1930s for the Regia Aeronautica (Italian Royal Air Force), the Saetta was one of its principal fighters during World War II.
The Regia Aeronautica first employed the Saetta against the British on the Mediterranean island of Malta. Italian pilots also flew the MC.200 in Greece, North Africa, Yugoslavia and the Soviet Union. The U.S. Army Air Forces fought against MC.200s in North Africa and over Italy itself.
The MC.200 on display was transferred from the Regia Aeronautica's 372nd Squadron in Italy to the 165th Squadron in North Africa during November 1942, just in time to be abandoned at Banghazi airfield following the battle of El Alamein.(Air Force Museum, Dayton Ohio, 2007)
Approximately 50 children of Virginia National Guard and active duty military parents took part in the Teen Wilderness Adventure Camp held at Wilderness Adventure at Eagle Landing in New Castle June 26 to 30. The camp was organized by the Virginia National Guard Youth Program in partnership with Operation: Military Kids and offered an opportunity for teens to grow together in a non-traditional learning environment with activities that develop leadership and effective communication. Activities at the camp included kayaking, mountain biking, hiking and outdoor activities for building confidence and teamwork. (Photo by Cotton Puryear, Va. Department of Military Affairs)
Time to give the hi-fi a mod with some Dynamat Xtreme to control vibration.
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Advanced Front Soundstage Expansion Modes
In addition, the AV8802A features multiple front soundstage expansion modes.
DTS Neo:X | 11.1 provides additional front height and front width channel options. Audyssey DSX also provides for front height and width channels.
Advanced Wireless Networking with Bluetooth and Wi-Fi
Stream your favorite audio tracks wirelessly to the AV8802A thanks to the built-in Bluetooth and Wi-Fi (b/g/n) wireless functions. Equipped with dual Bluetooth/Wi-Fi antennas, the AV8802A lets you enjoy wireless streaming from your smartphone, tablet and portable music player.
Via the Wi-Fi or LAN connection to your home network, the AV8802A opens up a whole world of streaming audio capabilities, letting you listen to any of thousands of internet radio stations. You can also enjoy streaming music from subscription services including SiriusXM and Pandora and listen to Spotify via the Spotify Connect app on your smart device.
The AV8802A is also equipped with Apple AirPlay, so you can stream wirelessly from your iPod touch, iPhone and iPad.
You can also connect the AV8802A directly to your home network via the wired RJ-45 LAN connection, and there's a convenient front panel USB port for direct connection and charging to your iPod, iPod touch, iPhone and iPad, and connection to a portable USB device.
4K Ultra HD Video Processing; 4K 50/60Hz Pass-through; 4:4:4 Pure Color
Featuring an advanced video processing section, the AV8802A fully supports next generation 4K Ultra HD high resolution video, along with the latest generation HDMI specification including 4K 50/60Hz pass-through and 4:4:4 Pure Color full color resolution sub-sampling.
The AV8802A can upscale 1080p content to 4K and also upscale and transcode HD and SD analog video sources, so you can connect modern as well as legacy video sources and run just a single HDMI cable to your flat panel TV or projector.
ISFccc Video Calibration Controls
Certified by the Imaging Science Foundation, the AV8802A features a full selection of advanced ISFccc video calibration adjustments that lets a video calibration technician optimize picture quality with any TV or front projector.
8 HDMI Inputs, 3 HDMI Outputs
There are 8 HDMI inputs including 1 conveniently located on the front panel, and 3 HDMI outputs that let you drive 2 different displays in the main room (flat panel and front projector, for example) and another HDMI display in the 2nd zone, and they conform to the latest HDMI specification for 4K Ultra HD compatibility. HDCP 2.2 will be supported via future upgrade (requires hardware modification). The AV8802A also features full HDCP 2.2 compatibility, a requirement for 4K Ultra HD copy-protected content. In addition HDR – High Dynamic Range – and extended colour space by standard BT.2020 are supported.
Audyssey Platinum Suite
With Audyssey MultEQ XT32, you can quickly and easily measure and configure your particular home theater setup for optimum sound quality precisely tailored to your home theater room's acoustics. With 8 measurement points, MultEQ XT32 generates a full set of precision digital filters to deliver the most accurate and natural tonal balance. The AV8802A is also Audyssey Installer Pro ready for even more acoustical calibration accuracy.
Audyssey Dynamic Volume tames large variances in volume levels (such as loud commercials), and Dynamic EQ delivers a full range tonal balance at any volume level. Audyssey LFC (Low Frequency Containment) uses advanced psycho-acoustic algorithms to provide deep bass without annoying neighbors or other family members. Audyssey DSX provides dynamic sound expansion, dramatically expanding the front soundstage via additional front wide, front height or even front wide and front height audio channels.
Exclusive HDAM Technology and Current Feedback
Featuring exclusive Marantz HDAM (Hyper Dynamic Amplifier Module) technology found on our Reference Series components, the AV8802A incorporates multiple HDAM modules which provide superior low noise wideband performance in an all-discrete configuration, compared to conventional op amp ICs. HDAM technology provides an ultra fast slew rate for true wideband response and maximum dynamic range to deliver optimum sound quality with today’s high resolution audio formats.
In addition to HDAM technology, the AV8802A also features Current Feedback instead of the typical voltage feedback configuration. A Marantz innovation introduced on our very first audiophile amplifiers more than 60 years ago, Current Feedback technology provides a wide closed-loop bandwidth and very high slew rate, delivering superior fidelity with wideband audio sources.
Multiple High Resolution Audio Formats Supported
The AV8802A supports a wide range of audio file types, including MP3, WAV, MPEG-4 AAC and WMA. It also supports high resolution audio tracks up to 24-bit/192-kHz including AIFF, ALAC and FLAC formats, and includes gapless playback capability with many file types for uninterrupted listening enjoyment. It also plays 2.8-MHz DSD high resolution audio files (DSD is the advanced high resolution audio coding system for SACD).
Multiple Control Options
In addition to easy operation with the supplied ergonomically-designed remote control, the AV8802 features additional control capabilities. There's an RS-232C serial port for direct connection to external automation equipment.
The Marantz app (available in iOS and Android versions) lets you operate the AV8802A from your favorite device, such as a smartphone and tablet.
You can also operate the AV8802A via web connection - open your favorite browser and easily control and configure the AV8802A, even when you're not at home.
Audyssey DSX (Dynamic Surround Expansion) lets you add a pair of front wide or front height speakers to your 5.1 speaker system to expand the front soundstage turning your room into a giant home theater space.
32-bit D/A Conversion on All Channels; Balanced XLR Input and Outputs
Featuring premium grade AK4490 32-bit DACs on all channels, the AV8802A
also features XLR input and outputs. There's a balanced XLR stereo input that's assignable as well as 15 balanced XLR outputs, which includes the 2 subwoofer outputs and front height/width and overhead channels.
This extensive balanced XLR compatibility ensures top performance in the home as well as the studio, especially when there are long cable runs between the AV8802 and power amplifiers situated elsewhere. 19 pre-outs (RCA jacks) provide additional compatibility with multiple power amplifier types.
3 Zone/3 Source Advanced Multi-room Capability
Enjoy your favorite movie or music in the main room, while others can enjoy listening to 2 different sources in other rooms. The Zone 2 and Zone 3 pre-amp outputs both feature variable level controls.
Easy To Setup, Easy To Use
The AV8802A comes with a Quick Setup guide, and has an intuitive on-screen Setup Assistant that will have your system fully configured with a minimum of fuss and bother. You can even control the setup via your PC's web browser or use our available Marantz Remote app with your favorite smart device.
60+ Years of Audiophile Heritage
Founded in 1953, Marantz has a long and rich history of designing audio components that have been embraced by music lovers and critical listeners around the world. Because Music Matters so much in our lives, the AV8802A carries on our long tradition of delivering a superlative music listening experience, and it's equipped to deliver the ultimate home theater experience as well.
Built late 1840s by Henry Evans, occupied by George Fife Angas when he arrived 1851, after his death property was transferred to Charles Howard Angas, remained in Angas family until 1965. Sold to horse trainer Colin Hayes and developed as a horse training & breeding complex, sold 2013 & 2023, now private.
“On Friday night, about 12 o'clock, a fire broke out in a paddock belonging to Wm. Clark, Esq., close to Angaston. . . . on Saturday forenoon it burst out again, and a wind blowing at the time, carried the flames across the country destroying everything they came near. Several of our small farmers are severely injured as to property. . . It still carried on, and reached Mr. Angas's paddocks, which have also been consumed. At one time great fears were entertained that the residence of the Hon. G. F. Angas, Lindsay Park, would be consumed, but, fortunately, it escaped.” [Advertiser 26 Jan 1860]
“ANGAS.— [Died] On the 11th January, at Lindsay House, near Angaston, Rosetta, the beloved wife of George Fife Angas, aged 74 years.” [Register 16 Jan 1867]
“During the past week, the Sunday School children of Angaston and its vicinity, nearly seven hundred in number, experienced a day's enjoyment at Lindsay Park, being hospitably entertained by its respected owner Mr G. F. Angas.” [Bunyip, Gawler 23 Mar 1872]
“For some time past the people of Angaston have felt the want of a piece of land as recreation grounds, suitable for holding athletic sports, cricket, and football matches, and kindred field-sports ; consequently a deputation representative of the various Clubs, accompanied by local dignitaries, drove out, preceded by a coach and four containing the Angaston Brass Band, to Lindsay Park to make an application to Mr. G. F. Angas to kindly consider and provide for the requirement of the township. A letter signed by about 200 persons having been read to Mr. Angas, he expressed his willingness to give favourable consideration to the request.” [Evening Journal 1 Aug 1876]
“The 1st of May being the anniversary of Mr. G F. Angas's birthday. . . a number of residents in Nuriootpa, Light's Pass, Keyneton, and Angaston assembled in Angaston about 3 o'clock on Wednesday afternoon, and drove out to Mr. Angas's picturesque residence at Lindsay Park to congratulate him on his having entered his 90th year. Arriving at the Park Lodge a procession was formed of gentlemen on foot, headed by the Angaston Brass Band playing suitable airs, and proceeded through the beautiful garden grounds up to the house, where they were received and subsequently entertained by Mr. John H. Angas on behalf of his venerable father. All available standing room in the house, on the balcony, and piazza was filled.” [Register 4 May 1878]
“ANGAS.— [Died] On the 15th May, at Lindsay Park, Angaston, George Fife Angas, aged 90 years.” [Register 17 May 1879]
“Mr. Angas, who ranks among the founders of South Australia, and has been resident in the colony for more than a quarter of a century, was born on May 1, 1789. . . early years were spent at Newcastle-upon-Tyne, where his father carried on an extensive business as coach manufacturer, merchant, and shipowner. . . Mr. G. F. Angas. . . while he was still an apprentice, he was the means of establishing a Benevolent Society for helping the aged and distressed coachmakers of the town; and afterwards, with the view of encouraging provident habits in the workpeople, a Savings Bank was opened under the auspices of the Society. He very early became a Sunday school teacher, and was also instrumental, with other persons, in forming the Newcastle Sunday- school Union in 1816. . . he did not adopt South Australia as his home until 1851. . . he arrived in the Ascendant. . . election to the Legislative Council. . . In 1857 he entered the first Parliament under the new Constitution as a member of the Upper House. . . he was identified more particularly with the Baptist denomination, but his giving was not restrained by sectarian preferences. He assisted in the erection of churches throughout the colony, and was a generous contributor to Bible, Missionary, and all kindred Societies, not only in South Australia, but also in other parts of the world. He also gave considerable sums towards the building of schools. . . Bushmen's Club and the Sailors' Home.” [Register 17 May 1879]
“Mr. G. F. Angas commenced an independent and successful career as a merchant and shipowner in London and Newcastle. Mr. Angas continued to trade with Honduras in mahogany, dye-woods, &c., a business which had been opened up by his father. . . In 1822 Mr. Angas induced the Baptist Missionary Society to send out a minister to Belize, giving him a passage in one of his vessels, and also contributing towards his maintenance. . . Mr. Angas opened up communication with Colonel, afterwards Sir George, Arthur, Governor of Honduras, on the subject of abolishing slavery in that part of the British dominions. . . In the year 1824 some 200 or 300 Indians were set free as the result of these efforts, and subsequently, during Colonel McDonald's superintendence, the like justice was extended to some who were held in the same condition by British subjects on the Mosquito Shore. . . In 1831 Mr. Angas assisted the Rev. Dr. Cox in the establishment of the British and Foreign Sailors' Society (with which was incorporated the Port of London and Bethel Union).” [Express & Telegraph 16 May 1879]
“In 1834, through the efforts of the gentlemen who composed the South Australian Association, an Act of Parliament was obtained authorizing the formation of the colony, and Mr. Angas then accepted an appointment on the first Board of Commissioners. . . The Act required that before the Commissioners entered upon the exercise of their general powers £35,000 worth of land must be sold; but several months after the land had been offered at £1 per acre only & portion of the stipulated quantity had been applied for. At this juncture Mr. Angas and two other gentlemen stepped in, and upon the Commissioners agreeing to reduce the price to twelve shillings per acre, advanced the money to buy the remainder of the sections. These they handed over to the South Australian Company at cost price.” [Adelaide Observer 17 May 1879]
“one of his most important purchases being what was then known as the Barossa Special Survey, a beautiful district, in the midst of which he has for many years past made his home. In 1837 he laid the foundation of German emigration to South Australia by helping out under Pastor Kavel some hundreds of Lutherans, who, in consequence of their opposition to the Government scheme for uniting the Reformed and Lutheran Churches, were suffering religious persecution in Prussia. . . co-operating actively with the Aborigines' Protection Society, and in 1838 assisting the Dresden Missionary Society to forward the Revs. Teichelmann and Schurmann to labour as missionaries among them.” [Evening Journal 17 May 1879]
“As his town residence (Prospect Hall) was situated at Bowden, the poor of Bowden, Brompton, and neighborhood for years largely enjoyed Mr. Angas's liberality; being allowed in addition to the services of a Scripture reader the sum of £50 per annum to provide them with blankets, firewood, &c., in the winter, and dinner at Christmas.” [Advertiser 17 May 1879]
“The remains or the late George Fife Angas were conveyed from residence, Lindsay House, Angaston, to the family vault in Lindsay Park on Tuesday afternoon. The shops and principal places of business were closed during the day, and flags were hoisted half-mast high in Angaston in honour of the deceased. . . over 500 persons were present. . . The procession slowly wended its way through the park to the vault, which is situated about a quarter of a mile from the house. The vault was beautifully decorated inside with flowers in wreaths and festoons, plants, &c.” [Register 21 May 1879]
“Elder's Wool and Produce Company (Limited) report having sold by auction, at Angaston, on Tuesday, September 11, under instructions from the executors of the late Mr. G. F. Angas, the following valuable landed properties:— Lindsay Park Estate, near Angaston, the residence of the late G. F. Angas, comprising 2,716 acres, at £10 1s. per acre, the purchaser being Mr. Charles Angas.” [Advertiser 12 Sep 1883]
“a drive through lovely country to Lindsay Park, which was the home of Mr. George Fife Angas, and is now vacant.” [Evening Journal 31 Dec 1887]
“As we dismounted at Lindsay Park to inspect the magnificent gardens, with their abundance of blooms, a herd of fallow deer scampered away to a hiding place over the hilltops, and a. stately emu, with conceited dignity, followed in their wake.” [Register 17 Nov 1902]
“Mr. and Mrs. C. H. Angas have left -town and gone to Lindsay Park, Angaston, where they will spend the summer.” [Critic, Adelaide 11 Oct 1916]
“Lindsay Park is a beautiful spot, with its terraced gardens, spacious lawns, and gay flower-beds, and altogether an ideal place for a. fete.” [The Mail 10 Nov 1917]
“A fete in aid of the Red Cross funds was held at Lindsay Park, Angaston, the residence of Mr. C. H. Angas. . . There were stallholders for fancy goods, produce, sweets, strawberries, afternoon tea, flowers, ice-cream, with a concert party, sideshows, and sports for the children. . . The proceeds were nearly £250.” [Advertiser 22 Nov 1917]
“ANGAS. — [Died] On the 11th December, at Lindsay Park, Angaston, Charles Howard Angas, aged 67 years.” [Register 12 Dec 1928]
“Mr. C. H. Angus. . . was the only son of the late Mr. J. H. Angas, and was one of South Australia's leading pastoralists. . . Surviving of his family are three sons and one daughter, Mr. Ronald Angas (Collingrove), Mr, Dudley T. Angas (Hill River), Mr. J. Keith Angas (Lindsay Park), and the Hon. Mrs. R. N. D. Ryder (London).” Northern Argus 14 Dec 1928]
Camera: Hasselblad SWC
Lens: Carl Zeiss Biogon 38mm f/4,5
Film: Fuji RDP III Provia 100 asa
Develop: Tetenal E 6
Expert Group Meeting for Least Developed Countries: Way forward on the WTO Ministerial Decision on preferential rules of origin
The objective was to discuss and brainstorm on the following topics:
- How to provide an overview of the status of preferential rules of origin and the value of the Ministerial decision on the preferential rules of origin: can we move on?
- How to provide a detailed information on the challenges in drafting preferential rules of origin, a possible UNCTAD methodology and the certification requirements related to origin?
The various options and modalities to bring forward the focus on the other issues that may be relevant in dynamic LDC agenda like trade facilitation and what are the overall prospects of an LDC package in Bali and beyond.
The final outcome of the meeting will assist UNCTAD and LDCs to identify future areas of activities and studies to be undertaken.
In 1920 the Wheeling Improvement Association and Morris Knowles Engineers of Pittsburgh developed a plan for a municipal park on Wheeling Hill. The focus would be a 'mall' extending from 10th and Market to the top of the hill, with some sort of monument or tower at the peak.
- from "Report upon Proposed Municipal Park on Wheeling Hill," 1920. Levenson Collection, Ohio County Public Library Archives
▶ Visit the Library's Wheeling History website
The photos on the Ohio County Public Library's Flickr site may be freely used by non-commercial entities for educational and/or research purposes as long as credit is given to the "Ohio County Public Library, Wheeling WV." These photos may not be reproduced in any format for profit or other presentation without the permission of The Ohio County Public Library.
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.
Starting to develop/scan my own film. This was the first roll I did last week. An old roll that I developed pretty much as an experiment. Boy did I make a mess of it...dust, scratches, wrinkles, dents, hair, waterspots, etc...etc... Still, that being said, I like things that are rough looking. AE-1 + Tri-X
We developed a series of graphic tests for a new food channel for FOX International Channels. We really enjoyed the project and made two options, very different from each other. Going from illustrative to surrealist.
More: bit.ly/Sfk7dL
Creative, art direction and design by Eloy Krioka. 3D Modeling help: Julio Cesar Velazquez. Work commisioned by our good mate Andres Rossi (Thanks!). VP Branding and Creative Fox International Channels: Florencia Picco. Branding Director Fox International Channels: Mariano Barreiro
#food #channel #design #fox
For twenty-five years London has been subject to a beautiful onslaught of criminal activity, reprehensible to some, embraced by others, colourful, witty and provocative. Street art, phenomenon of the 1990s, developed from graffiti art, a phenomenon of 1980s, is a regular occurrence on London's streets; in some areas it is ubiquitous. Its existence in London owes much to the city's cultural ties with New York, London's wealth and status and to the talent and determination of Bristol based artist Banksy, who introduced street art to London.
In London there are hives, around which street artists buzz, fanatics hunt and serendipitous locals and tourists register pieces on their mobile phones. These hives are to be found in Camden, East London and Leake Street in Waterloo. The Camden part of Regent's Canal, in 2009, hosted London's first and only street art battle between street-artist par excellence Banksy and an old time graffiti artist Robbo. In Shoreditch, East London, gallery owners, design studios and businesses, inspired by early works of Banksy, commission art on the outside of their buildings. This commissioned work is accompanied by an ever changing pastiche of gratuitous work, which has turned Shoreditch and East London into the spiritual home of street art. Leake Street, a disused railway tunnel just behind Waterloo Train Station became a hive for street artists and graffiti artists after Banksy organised a street art festival there in Spring 2008, which led to the tunnel being designated a legal space for street art and graffiti.
The Chinese say life is both yin and yang and the same can be said for the energies and motivations driving street art. Yin is an explosion of energy, an attempt to mean something to someone, a fire fuelled by a need for recognition and acceptance. Yang is a deep breath out, a chance to reflect, an opportunity to disconnect and feel one's real emotions; to disengage from the zeitgeist. For some, street art is all about the yang about free expression, emotion, creativity and the altruism of the street artist. It is part of an idealistic utopian philosophy that art should be for the people, free and accessible. However, in reality, most artists are guided by yin, fuelled by a desire to make it as an artist, to get a name, to get ahead.
All street artists experience the tension between yin and yang, it causes many to entertain delusions about the greater good of what they are doing, to hide their problematic egoistic tendencies and criminal activity. The fact is, the street artist is a psychopathic charmer, trying to seduce you with the beauty, audacity and complexity of his gift, hoping you forget he has, unilaterally, decided that his need for his art on your wall, is greater than your right to enjoy your wall, as it is, without interference. And London's heart is fluttering. The media celebrate street art, local authorities protect street art works from vandalism; the firm Pearl and Coutts, when it found out that Westminster Council wanted to remove a Banksy exhibit from one of its walls, went to the length of taking Westminster Council to court, to try, unsuccessfully, to have the image protected. In 2008, London art auctioneer Bonhams held London's first auction of street art, ; Village Undeground held an "urban art sale" and a piece by Banksy attracted a bid of £208,100. The elevated status of the street artist prompts invitations for shows from owners hoping to cash in on the cache. Like this the street artist is laundered.
The rise of the internet, which has coincided with the rise of street art, has created a virtual street art world. In the real world of street art those who happen to see the art, and enjoy it, encounter it as a moment of serendipity. Bloggers and web site owners rip the art from their geographical location and juxtapose the images next to each other. Here, viewers of street art get a concentrated experience, delivered to them through the click of a mouse, rather than the motion of their legs. Street art in the real world is transient, in the virtual world, digitally preserved, it lasts forever. The magic that might have been shared by a few, who had the luck to walk down a street at a particular point in time, can now be shared by millions in the virtual world. What we are left to ponder is whether street artists are creating street art, with a view to how this will be seen in the virtual world first, with considerations for people who and experience it in the street, coming second?
Konica Hexar RF and Voigtlander Ultron 28mm f/1.9
Legacy Pro 400 developed at 1600 in Xtol (1:1)
...
Ryan LeCluyse's REBU!LD project on the 900 block of Madeira Street in east Baltimore in May of 2011. All of these rows have since been torn down.
SONY a7II + SIGMA 35mm F1.2 DG DN A019
Developed by Adobe Photoshop Lightroom Classic Ver. 8.4
※電子先幕シャッターモードで撮影してしまったため、
高速シャッターで撮影した写真のボケ部分が欠けて
レンズ本来の描写にはなっておりません。写真を見て
レンズの評価をする場合はその点にご注意ください。
ID: 003743
This picture is (c) Copyright Frank Titze, all rights reserved.
It may NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
See more pictures on frank-titze.art.
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Exposure: Digital
Developing: ---
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Exposure: 07/2015
Processing: 07/2015
Published: 12/2015
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Flickr "taken" date set as actual publish date.
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The Park was initially developed as part of the Pery Square development in the Newtown Pery area of central Limerick. This development commenced in 1835 and the associated park was a key-holders only park. The intended plan was to surround the park with housing for the more affluent members of society. Pery Square was intended to be a complete Georgian square with the Georgian terraces enclosing a central park, similar in layout to Merrion Square or Mountjoy Square in Dublin, however more modest in scale. Ireland's Georgian economy began to decline with the onset of the Great Irish Famine and only one terrace of the square was ever completed funds for the project ran out before this could be completed. The park was officially opened in 1877, it was given to the People of Limerick in honour of Richard Russell, a prominent local businessman. It was the then Earl of Limerick in the 1870s who granted a 500 year lease of Pery Square and the surrounding grounds to the corporation under certain conditions. These included an agreement that no political or religious meetings were allowed to be held in the park and bands were not to play there on a Sunday. The plots of land that were earmarked for the development of the Georgian Square were eventually incorporated into the park and extended it further north to what is now Mallow Street, eastwards towards Boherbuoy Road & southwards towards St. Joseph Street.