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The Royal Armouries began life as the main royal and national arsenal housed in the Tower of London. Indeed the Royal Armouries has occupied buildings within the Tower for making and storing arms, armour and military equipment for as long as the Tower itself has been in existence.
Early in the 19th century the nature and purpose of the museum began to change radically. Displays were gradually altered from exhibitions of curiosities to historically ‘accurate’ and logically organised displays designed to improve the visitor by illuminating the past.
Origins
The origins of the Armouries may be traced back to the working armoury of the medieval kings of England. The first recorded visitor to the Tower Armouries was in 1498, when entry was only by special permission. After the restoration of Charles II in 1660, the paying public was allowed in to marvel at new displays set up to celebrate the power and splendour of English monarchy.
The Armouries is one of the ancient institutions of the Tower of London, which have also included the Board of Ordnance, the Menagerie, the Royal Mint, the Jewel House, the Royal Observatory and the Tower Record Office. These institutions are the focus of a permanent exhibition in the White Tower – Powerhouse).
An important chapter in its development occurred in the early 15th century, with the emergence of the Office of Armoury as an offshoot of the Privy Wardrobe of the Tower. At this point it seems that the positions ‘Keeper of the King’s armour at the Tower of London’ (first mentioned in 1423) and the ‘Master of the Ordnance’ (first recorded in 1414) replaced the previous ‘Keeper of the Wardrobe’.
The offices of the Armoury and Ordnance were responsible for procuring and issuing a wide variety of military equipment. The Armoury concentrated on armour and edged weapons; the Ordnance concentrated on cannon, handguns and the more traditional bow and arrow. Developments in the art of war resulted in the Ordnance becoming the more important of the two organisations, and in 1670 the equipment and functions of the Office of Armoury passed to the Ordnance.
16th–17th centuries
By the end of the 16th century, some of the early visitors to the Tower began to record their impressions of the Armoury. Jacob Rathgar, secretary of Frederick, Duke of Wirtenburg, described what they were shown in 1592. Despite the presence of many fine pieces of artillery, Rathgar felt the collection did not compare with those in his native Germany for ‘they stand about in the greatest confusion and disorder’.
Paul Hentzner provided the first detailed description of the Armoury after a visit to London in 1598. He was shown many items belonging to Henry VIII, including a gilt suit of armour, and several historic cannon; among them two wooden pieces used to deceive the French at the siege of Boulogne in 1544.
The following year Joseph Platter, a Swiss traveller from Basle, visited the Tower and again paid attention to the personal armoury of Henry VIII, which he makes clear was located in the White Tower. Interestingly, reference is made to the cost of viewing the Armoury, with payments being made at four points in the building ‘to a servant appointed to receive the same’.
Rathgar’s complaint in 1592 about the disorderly appearance of the Armoury, repeated by the Duke of Stettin-Pomerania a decade later, suggests that little attention was paid to presentation in the late 16th and early 17th centuries.
This situation was to change immediately after the Restoration of the monarchy in 1660, when two permanent public displays were set up, known as the Line of Kings and the Spanish Armoury.
The former, as the name suggests, was a row of figures representing the kings of England. They appeared on life-sized wooden horses wearing what was said to be their personal armour. The line was first recorded in the Tower in an inventory dated October 1660, and it is possible that the display was assembled to mark Charles II’s visit to the Tower of London in August that year, after his many years in exile.
The Spanish Armoury was a collection of fearsome-looking weapons, displayed alongside a few instruments of torture, claimed to have been taken from the Spanish Armada in 1588. However, the historical basis for this association was quite unsound, with few, if any, of the objects having Spanish connections.
17th–19th centuries
Towards the end of the 17th century, the Office of Ordnance added two new armouries’ displays to the visitor attractions at the Tower. These were housed in one of the largest and most prestigious buildings ever to be seen at the Tower – the Grand Storehouse – that was built on the high ground immediately north of the White Tower.
The third, and most fantastic, display was installed on the first floor in 1696. Under the supervision of John Harris of Eaton, tens of thousands of small arms, and a mass of elaborate wooden carvings, were used to create such diverse installations as the ‘Witch of Endor’, the ‘Back Bones of a Whale’, a huge organ, and a seven-headed monster.
In the great Artillery Hall stood the great guns of the artillery train. As time went by, however, the room increasingly took on the appearance of a museum of military power, in which cannon and other trophies captured from battlefields around the world were brought here and displayed.
Also to be seen were items of curiosity and historic interest. Perhaps one of the most infamous was the Tower ‘Rack to extort Confession’. Last prepared for use in January 1673, the rack had presumably been decommissioned by June 1675, as it then appears in the first of several Ordnance inventories.
Throughout the 18th and into the early 19th century, the Ordnance continued to adjust and embellish its four armouries at the Tower. In 1825, the decision was taken to re-locate the Line of Kings into a new building against the south side of the White Tower.
The Horse Armoury was architecturally significant as it represented the first purpose-built museum gallery at the Tower. With the move, the notable antiquarian Dr Samuel Meyerick reorganised the exhibits along more scholarly and scientific lines.
Moreover, the Ordnance began to release funds allowing objects to be bought for the first time to expand the collection in specific and targeted, areas. Together with inaugural efforts at object conservation, the first decisive steps had been taken to transform the Tower armouries into a modern museum.
19th–21st centuries
In 1838 the cost of visiting the Tower Armouries was cut from 3 shillings to 1 shilling and lowered again the following year to 6d. The effect of these reductions was to see visitor numbers rise from 10,500 in 1837 to 80,000 in 1839.
On the evening of 30 October 1841 the Grand Storehouse was engulfed by a terrible fire destroying most
For the first time in six years of existence, the P1 AquaX was hosting a World Championship event sanctioned by IJSBA and it happened in Key West, Florida December 9th and 10th 2017. Since the Thailand King's Cup was being held at the same time, only 18 of the 25 pilots that made the selection were racing this week end. Nevertheless, Key West was a beautiful destination to race, every morning brought a different colour of sunrise and the ever changing blue hues of the water made this race memorable. After marine and storm delays, day one was hard for David Chassier after experiencing mechanical problems. Day two was a little better even if the Yamaha FX SVHO was barely taking 7000 rpm, the French pilot from Blois managed to finish 12 and 13, which placed him 15 overall. A big thank you to Barefoot Billy's Jet Ski Rental that helped us train the first days in Key West as well as Redler's family that gave us assistance and support during the race. Congratulation to our friend Nicolas Rius on landing a 3rd place overall despite a bad shoulder injury and we wish him the best recovery so he can be back a the top for 2018. This was the last race of the season, see you next year :)
Taken on February 2010, Mt. Pulag.
“There are no foreign lands. It is the traveler only who is foreign.” -- Robert Louis Stevenson
Accidental double exposure of my dad, sister, and other trekkers making their way out of the magical grasslands.
Shattered Existence; Life’s cuts run deep…
Art Photography - Original macro painting was specifically made to be photographed. Acrylic, powder paint, paper and various other substances for texture, color and reflectivity.
This I truly feel is something different in my portfolio of photographs, time consuming to create, unreliable results but at the end, very unique...a few people on Flickr might remember these as I did it back in the beginning of the year and at the end of 2008 (I removed it and I thought it was more fitting for deviant art). I'm already planning on restarting as I have the equipment and supplies to do it again and the other photography will have to wait a little while as I'm a bit burnt out; I need a little change in direction again...
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I have only ever been because of you. Every pain I ever felt was worth it, just to see your face, just to touch you, to feel you in my mind and hold in my heart. I exist because of you, Angel.
"It is clear and evident, therefore, that the first bestowal of God is the Word, and its discoverer and recipient is the power of understanding. This Word is the foremost instructor in the school of existence and the revealer of Him Who is the Almighty. All that is seen is visible only through the light of its wisdom. All that is manifest is but a token of its knowledge. All names are but its name, and the beginning and end of all matters must needs depend upon it."
Bahá’u’lláh
It is what man chooses to do or not do with these words that needs to be the conversation...
A bright green patch of moss clings on as the beautifully clear waters of Cameron Falls gush over the top. Despite poor recent rain, this waterfall at Mt Tamborine, Queensland was flowing strongly.
Playing soccer has been in existence forever and is also enjoyed by numerous around the globe. Perhaps you just thought soccer had been a kid's sport, however perhaps you're thinking about learning even more about this yourself. The content found below provides plenty of useful information that can make soccer more available to pretty much anyone.
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Its smart to pass through off and away to a teammate right after a defense player gets in your area. Keep your ball when you can move ahead safely, but pass it prior to the opposing team reaches you. This can let your teammates some seconds prior to the defenders change targets and close in.
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If soccer has always been unknown for you, take heart. Since you've learned a bit about soccer and possibly comprehend it better, it's time to really make it meet your needs. These guidelines will enhance your game tremendously. www.pdcsolutions.com
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
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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 Raven Nature Reserve / Tearmann Dúlra Rámhann
Curracloe, Co. Wexford
Location: Situated 8km north-east of Wexford town.
Area (ha.): 589
This reserve started its existence as a long narrow sand spit, sheltering the entrance to Wexford Harbour. In the mid-1880's the creation of the adjacent North Slob for agricultural purposes land locked the sand spit on its western side. The site is now part of a major sand dune system, which is largely stable except for the lagoons and sand bar at its southern tip.
Established 1983. State owned.
Animals and Plants of Interest: Internationally important for birds. 35% of the worlds population of Greenland and White-fronted Geese spend winter in this area. They feed by day on the Wexford Wildfowl Reserve and return each evening to roost in the relative safety of the sand bar, on the southern tip of the Raven. Large numbers of waders roost here throughout the year. Little Terns nest on the shell sandy beaches and Crossbills are occasionally seen in the woods.
The dunes are rich in wild flowers, including several rarities, such as the sub species of Round-leaved Wintergreen, which is found only in Ireland on the site.
Access: Access to the Raven Nature Reserve is from the main Gorey road (R741) out of Wexford over the River Slaney Bridge, 3.4 km (2.1 miles) north of the bridge turn for Curracloe which is signposted. In Curracloe village, turn right opposite the Post Office and after 0.9 km (0.6 miles) take the first right turn. The entrance to the Nature Reserve, which is open at all times throughout the year, is on the right after 1.8 km (0.8 miles).
Facilities include a small picnic area at the main entrance, seating positioned through the Reserve and a public hide situated 1.9 km (1.2 miles) from the entrance down the main track. The hide, located on the right hand side of the track, provides views of the geese feeding in winter on the North Slob and other bird activity at other times of year.
(Information courtesy of: National Parks and Wildlife Services - www.npws.ie/naturereserves/wexford/)
The Bouleuterion is one of the best preserved buildings in the whole of the ancient city. Strabo refers to the existence of a Gerontikon or Senate House at Nysa, bt this must be a predecessor to the present building. The bouleuterion is situated in the eastern half of the site and is reached from the Theatre, by means of the path that runs past the Market Basilica and the row of Shops, while to the east lies the Agora. The Bouleuterion has a square exterior plan, measuring 23,44 X 27,24 metres, but has a semicircular shape inside, forming a banked auditorium or cavea of 12 rows of seats, divided into four segments by five stairways. Its frontage comprises an open vestibule, but the building's thick walls indicate that the main body of the Bouleuterion was roofed. On the north side of the building is a vaulted gallery, containing four elliptical columns, set about 5 metres apart. On the south side are five doorways providing entrances to the building, while side passages (paradoi) give access to the orchestra. The floor of the orchestra is paved with marble opus sectile, arranged in a star pattern comprising square an octagonal slabs and surrounded by other rectangular panels. This floor had earlier been exposed to the elements and, in order to preserve it from further damage, the area was covered up in 1995. It is estimated that the Bouleuterion had a capacity of about 600-800. The south vestibule is decorated with a polychrome mosaic of geometric design. A pool was added to this part of the building at a late date in its history, together with a row of statue bases. Architectural fragments found in the Bouleuterion date it to the 1st century AD, but it is clear from other decorative elements and an inscription referring to the empresses Faustina the Elder the Younger that it also underwent alterations in the middle of the 2nd century AD.
Nysa ad Meander antik kentinin en iyi korunmuş yapılarından birisi Buleuterion'dur. Strabon, bu yapıyı Gerontikon (Yaşlılar Meclisi) olarak tanımlamıştır. Bouleuterion, antik kentin doğu kesiminde, tiyatronun güneydoğusundaki Pazar Bazilikası ve Dükkanlar geçildikten sonra gelinen bir alanda yer almaktadır. Yapının doğusunda kentin Agorası bulunmaktadır. Bouleuterion dikdörtgen planlı olarak inşa edilmiş olup, iç kısmında yarım daire şeklindeki Cavea (Theatron) kısmı yer almaktadır. Bouleterion'un 23,40 X 27,24 m. ölçüsündeki bu dikdörtgen şekilli esas yapısının önünde ise üstü açık olan bir ön salon kısmı bulunmaktadır. Yapının oturma sıraları 12 adettir ve bunlar 5 merdiven sırası ile 4 bölüme ayrılmıştır. Bouleuterion'un kalın duvarları yapının üstünün örtülü olduğuna işaret etmektedir. Yapının kuzey kısmında kemerli bir galeri bulunmaktadır ve burada yaklaşık 5 m. aralıklarla yerleştirilmiş olan 4 adet eliptik sütun vardır. Yapıya güneydeki 5 adet kapıdan girilmektedir. Ayıca, orkestraya girişte, yanlarda da paradoslar bulunmaktadır. Nysa'daki bu Bouleuterion'un orkestra kısmında ortada, orijinalinde eşkenar dörtgen ışıklı sekizgen göbekli bir yıldız motifinin oluşturduğu opus sectile taban kaplamasını düzgün dikdörtgen mermer plakalar çevrelemektedir. Doğanın tahribatına açık olan bu mermer kaplamalar Nysa'da 1995 yılında yapılan kazı ve onarım çalışmaları sırasında üstü örtülerek koruma altına alınmıştır. Nysa Bouleuterion'unun yaklaşık 600 ile 800 kişiyi alabilecek kapasitede olduğu anlaşılmaktadır. Yapının güneyindeki salonun döşemesinin çeşitli renklerdeki geometrik motiflerle süslü bir mozaikle kaplı olduğu görülmektedir. Yapıya geç bir tarihte eklendiği düşünülen güneydeki bu kısımda bir havuz ile bir dizi halinde sıralanmış olan çeşitli heykel kaidelerinin bulunduğu görülmektedir.
Bouleuterion'da MS 1. yüzyıla tarihlenebilen mimari parçalar bulunmaktadır. Ayrıca MS 2. yüzyıla ait olan mimari süslemeler ile bir yazıtta imparatoriçe genç ve yaşlı Faustina'lara değinilmesi de yapının Roma İmparatorluk devrinde Antoninler döneminde (MS 2. yüzyılın ortası) bir değişiklik gördüğüne işaret etmektedir.
Bouleuterion'da ilk kez 1907 ve 1909 yıllarında W.von Diest başkanlığında sürdürülen çalışmalar, yapı hakkında genel bilgilere ulaşmak için sondaj şeklinde gerçekleştirilmiştir. Yapıda geniş kapsamlı kazı çalışmalarını 1921 ve 1922 yıllarında Yunanlı Arkeolog K. Kouriniotis gerçekleştirmiştir. Bu çalışmalar Kurtuluş Savaşı sırasında çok hızlı bir şekilde sürdürülmüş, koilon (cavea) ile scaenae frons tamamen kazılarak ortaya çıkarılmıştır. Ancak yapı tam anlamıyla araştırılıp yayını yapılmamıştır. B çalışmalarda ortaya çıkan toprak ve moloz yapının güneydoğusundaki alanda biriktirilmiştir. 1960'lı yıllarda zamanla toprakla dolan Bouleuterion'da İzmir Arkeoloji Müzesi Müdürlüğü'nce tekrar kazılara başlanmıştır. Ancak bu çalışmaların da sonuçları yayınlanmamıştır.
1990 yılından itibaren Prof. Dr. Vedat İDİL başkanlığında yürütülen kazılarda ise, 1997 yılında kısa süreli olarak Bouleuterion'un orkestrasında, 1998 ve 2002 yıllarında yapının kuzeyinde ve güneybatı köşesinde birer açma gerçekleştirilmiş, 2006 yılından itibaren Bouleuterion'un güney girişinin önündeki stoaların tespitine, Bouleuterion'un Agora ile arasındaki caddeye (Cardo Maximum) çıkışına ve sırtını Doğu Stoa'ya veren "Cardo Maximus" üzerindeki dükkanlara odaklanılmıştır.
Son yıllarda yapılan yeni tespitlere göre, Bouleuterion'un güneydeki beş ayrı çıkışı, doğu, batı, kuzey ve güney stoaları çevrelenmiş bir alana bağlanmakta, bu alanı çevreleyen doğu stoanın içindeki bir koridor ile de Bouleuterion - Agora bağlantısını sağlayacak şekilde Cardo Maxsimus'a çıkıldığı anlaşılmıştır.
Kaynak:
1- Nysa ve Akharaka - Prof.Dr. Vedat İdil, Yaşar Eğitim ve Kültür Vakfı Yayını, İstanbul 1999
2- 2003, 2004, 2005 ve 2006 Yılları Nysa Kazı ve Restorasyon Çalışmaları Raporları
Now, we're back to something I actually know something about.
Robo-babes and anime/video games have gone hand in hand for Lord only knows how long. While many of these properties seem to be timeless, there is one property with robo-babes that kind of sizzled out of existence once its 15 minutes were up - the Xenosaga series on PS2.
Developed by Monolith, who would go on to develop the Xenoblade series on Nintendo first rose to notoriety when they worked at SquareSoft on a little game called Xenogears. If you've never played the game, the entry is best known for introducing an battle system that rewarded you for taking defensive action rather than going on full out assaults, and due to budget cuts, a second half of the game told by the lead characters sitting in rocking chairs.
Xenosaga was a space opera that spanned across three games and got pretty trippy when you started getting details about the true nature of some of the characters. I finished all 3 games, and with the exception of the glitches on Xenosaga, had a pretty good time. However, I remember reading that the reception of Xenosaga 2 was kind of meh due to the battle system, and as a result the third game really didn't sell well at all.. which is why it is kind of pricey on the aftermarket these days.
Me? I stuck around because of KOS-MOS.
Introduced as an android that is a weapon for fighting the Gnosis, the character of KOS-MOS evolved into something that has probably never been revisited in any other game I've played or heard about. If you've never played it and have patience to work your way through three games (or what is probably a really, really long wikipedia entry), I think you'll like what you find out.
Sadly, as far as I know, KOS-MOS kind of disappeared from the public eye (at least in my case) with the exception of an entry in the Project X-Zone series and more recently, an optional Blade in Xenoblade Chronicles 2.
But for our purposes, lets' talk character design.
To me, KOS-MOS has a very endearing design. Starting off as a typical battle android, by the end of series (and her 4th upgrade) KOS-MOS is a dual chain gun wielding, laser blade swinging BADASS. Her outfit is part lingerie and part Phantasy Star, and to top it off she has this incredible mane of translucent blue hair.
Naturally, when Good Smile made a Figma of her, they pulled out all the stops. When KOS-MOS was released, she had the whopping price tag of 4,571 yen, which was pretty much double the going price of a typical Figma.
*sigh* those were the days.
Having said that , as mentioned, they certainly pulled out the stops, as I think that overall everything a KOS-MOS fan would want in this set is pretty much there.
Based on her v.4 appearance, Figma KOS-MOS has access pretty much most of her iconic equipment she's used in the game. This includes her laser pistol, R-Blade, Dragon Tooth sword, twin chain guns, as well as her Fatima's Glass eye piece. Complementing these weapons are hands to wield them, muzzle flash effects for the chain guns, two face plates (one standard mode, one "awakened" mode), and of course a chest piece to recreate the infamous ultimate attack move of KOS-MOS, D-Teneritas.
Oh, and stands.. again, worth mentioning.. stupid Figuarts.
IMHO, the only things that could have made this set even better are the inclusion of slash effects for the R.Blade and Dragon Tooth, and actual functional stands instead of stupid plastic sticks for use with the chain gun.
Speaking of which, I lost one of these sticks, so be careful. On the plus side, I managed to find the belt to that Figuarts Black Widow I have.
KOS-MOS is based on the 1.0 body, and as such isn't as articulated as more modern figures. She does, however, feature joints in her hair for more dynamic posing.
QC on this figure is both breathtakingly good and at the same time bad, though understandably bad. On the whole, QC is very solid as one would expect from a Figma. However, KOS-MOS has many, many small details that bless their hearts, GSC decided to recreate on the Figma that were present on the 1/8 scale PVC (which I own) and her character model in general. However, due to the incredibly tiny details needed, some of the more fine details don't look that great up close.
The only other Xenosaga character released by GSC would be T-ELOS, her evil counterpart and reason for upgrade from v3 to v4. I'm hoping to add her to my collection soon. Sadly, there never was a Shion released (her handler from Vector Industries) nor was Chaos, the other character that is most associated with KOS-MOS.
Not a bad set at all. There are, of course, larger more complicated sets for sale featuring KOS-MOS. Maybe one day I'll find one and add it to the pile.
.......And out beyond its mortgaged half-built edges
Fast-shadowed wheat-fields, running high as hedges,
Isolate villages, where removed lives
Loneliness clarifies. Here silence stands
Like heat. Here leaves unnoticed thicken,
Hidden weeds flower, neglected waters quicken,
Luminously-peopled air ascends;
And past the poppies bluish neutral distance
Ends the land suddenly beyond a beach
Of shapes and shingle. Here is unfenced existence:
Facing the sun, untalkative, out of reach.
Here by Philip Larkin
My father did all his "work" on the coffee table. His calendar is still there with notes and his car keys. He died on November 3, 2021.
Artifacts of existence.
The Introduction:
Despite the overwhelming existence of the airways and ships as modes of transport and carriage services, the railways had, have and always will be an important transportation infrastructure. The railways virtually form the backbone of any country’s economy by transporting millions of passengers and tons of material through tens of thousands of miles round the clock, throughout the year.
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The Challenge:
Taking into account the number of trains running at high speeds separated by a few minutes on a common set of tracks, the railways as a system is a very intricate and a perilous enterprise. To control and coordinate the innards of this system, teams of experts need to watch the movements of the trains and in order to facilitate this, what better way than a video surveillance solution. However installing and linking cameras throughout the track is not only cost prohibitive but also at times cumbersome to implement in inaccessible geographies.
The Solution:
By leveraging Proxim’s wireless solutions railway organizations can cost effectively and effortlessly install various ITS components even in challenging spots such as underground tunnels etc. Additionally Proxim’s .11 series with its roaming capability allows passengers accessing the internet via Wi-Fi hotspots and control stations to seamlessly receive and transmit data from fast moving mobile trains.
Took this image of the afternoon sun at Chatfield State park through a pair of sunglasses, then dropped the exposure through Aperture. The effect looks like an overly intense moon or something else. The ice on Lake Chatfield adds an unusual texture.
G10_ IMG_0173
Copyright © 2013 by cooper.gary. All rights reserved.
Existence de edward bond au théâtre des argonautes à marseille
mise en scène francine eymery, collaboration artistique et scénographique jean-pierre girard
avec lionel barathieu et frédéric josse
Existence de edward bond au théâtre des argonautes à marseille
mise en scène francine eymery, collaboration artistique et scénographique jean-pierre girard
avec lionel barathieu et frédéric josse
The Painted Stork is taking a sip and just behind the bird, you can see the tail of a crocodile, its head resting on a stone.
I am taking my walks around Tamagawa again from next week. Merry Christmas and see you all next year.
in an attempt to heal i thought it would be a good idea to have no inner life. to be but not really be, a sense of nothingness
Existence de edward bond au théâtre des argonautes à marseille
mise en scène francine eymery, collaboration artistique et scénographique jean-pierre girard
avec lionel barathieu et frédéric josse
existence biscuits is "A collection of half-baked, bite-sized morsels of existential ramblings, best washed down with a hearty mug of psychedelic tea."
written and performed by my friend robbie cornell, cover by mee.
album available here : robbiecornell.bandcamp.com/
... NEW VIDEO ... www.youtube.com/watch?v=V46LNUYZ4G8 from the pages of 999 DAYS in 3 minutes; comes ONE MIDSUMMER DAY; Nothing, a new video