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This photo shows the progress midway through renewing the level crossing in Dereham. The new rails and chairs have been put into position, and we are cutting and drilling the existing rails in order to join them back together with the new ones. Sadly we are only able to renew this crossing half at a time, due to a poor planning decision in the 1970s which left only one route into an industrial estate. Doing half a crossing proved to be a total nightmare with the old joint corroded solid, where we had to stage the works.
The majority of the sleepers were in good condition and so have been retained, with some new ones installed furthest from the camera. We are also installing checkrails to retain the tarmac, which is an improvement on the previous arrangement. The half of the road closest to the camera will be done next week.
Dragonfly shaped lanterns installations at the Supertrees for the Mid-Autumn @ Gardens by the Bay for the official opening light-up from 22 September 2017.
An artists (MO. Raudies / Bewahrung) installation at an exhibition.
No digital manipulation but intentional unclean darkroom handling, incomplete fixation and paper decay. Additional sulfur toning.
THE RESTLESS EARTH
28 APR - 20 AUG 2017
Triennale Milan
www.triennale.org/en/mostra/la-terra-inquieta/
The Restless Earth borrows its title from a collection of poems by Édouard Glissant, a Caribbean writer who probed the question of how different cultures can coexist. The exhibition shares in Glissant’s project—a pressing and necessary one that tries to describe this unstable and agitated present as a polyphony of voices and narratives. Through the works of more than sixty artists from more than forty countries—such as Albania, Algeria, Bangladesh, Egypt, Ghana, Iraq, Lebanon, Morocco, Syria, and Turkey—and with historical documents and objects of material culture, this exhibition charts both experiences and perceptions of migration and the current refugee crisis as an epoch-making transformation that is reframing contemporary history, geography, and culture.
The Restless Earth explores real and imaginary geographies, reconstructing the odyssey of migrants through personal and collective tales of exodus inspired by varying degrees of urgency and longing. The exhibition revolves around a series of geographic and thematic lines of inquiry—the war in Syria, the state of emergency in Lampedusa, life in refugee camps, the figure of the nomad or stateless person, and Italian migration in the early 20th century—which intersect with works that serve as visual metaphors for conditions of mobility and precariousness.
The Restless Earth focuses in particular on how artists bear witness to historic events, and how art can describe social and political change in the first person. The works on view point to a renewed faith that art and artists have a responsibility to portray and transform the world, creating not just images of conflict, but images that provide a space for critical thinking and exchange. Together, these stories—poised between historical epic and real-time diary—yield a vision of art as lyrical journalism, emotional documentary, and vivid, vital testimony.
Participants:
Adel Abdessemed, John Akomfrah, Pawel Althamer, Francis Alÿs, El Anatsui, Ziad Antar, Kader Attia, Brendan Bannon, Yto Barrada, John Berger and Jean Mohr, Alighiero Boetti, Anna Boghiguian, Andrea Bowers, Tania Bruguera, Banu Cennetoğlu and Nihan Somay in collaboration with UNITED for Intercultural Action, Phil Collins, Comitato 3 Ottobre, Constant, Thierry De Cordier, La Domenica del Corriere, Forensic Oceanography / Charles Heller and Lorenzo Pezzani, Meschac Gaba, Charles Gaines and Ashley Hunt for Gulf Labor Artist Coalition, Giuseppe “Pinot” Gallizio, Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian, Manaf Halbouni, Mona Hatoum, Lewis Wickes Hine, Thomas Hirschhorn, Wafa Hourani, Pravdoliub Ivanov, Khaled Jarrar, Isaac Julien, Hiwa K, Yasmine Kabir, Šejla Kamerić, Bouchra Khalili, Runo Lagomarsino, Dorothea Lange, Zoe Leonard, Glenn Ligon, Liu Xiaodong, Ahmed Mater, Steve McQueen, Aris Messinis, multiplicity, Paulo Nazareth, Adrian Paci, Maria Papadimitriou, 2016 Pulitzer Prize for Breaking News Photography (Daniel Etter, Tyler Hicks, Mauricio Lima, Sergey Ponomarev), Marwan Rechmaoui, Hrair Sarkissian, Thomas Schütte, Hassan Sharif, Augustus Sherman, Xaviera Simmons, Mounira Al Solh, Hamid Sulaiman, Rayyane Tabet, Pascale Marthine Tayou, Wolfgang Tillmans, Andra Ursuta, Danh Võ, Henk Wildschut, Zarina.
Credits
An exhibition curated by Massimiliano Gioni
This installation occupied two spaces; an upstairs space and outside downstairs space. Upstairs contained a lawn chair, fake grass, and three small bunny television sets, that each played network television. The upstairs space looked out on to the downstairs space, which consisted of five full size bunny television sets placed on fake grass, that played static.
Exhibition & installation ARIA, by Eliza Wierwight.
Worth the trip.... slurl.com/secondlife/Originalia/236/76/30
A construction worker on the West Approach Bridge North project measures to make sure that the pile is installed just right.
Construction crews were busy along the SR 520 corridor during the Nov. 14 - 17 weekend closure. Critical work activities included demolition of the R.H. Thomson “Ramps to Nowhere” over SR 520, necessary tree removal within project limits in the Montlake area and installation of piles on Foster Island and near the Montlake shoreline for the SR 520 West Approach Bridge North Project. Crews working on the Eastside Transit and HOV Project installed drainage systems along the 108th Avenue East direct-access ramps. Find out more about the new SR 520 on our website.
The SR 520 West Approach Bridge North Project is the next construction phase of the SR 520 Program. When complete in summer 2017, WABN will be built to modern earthquake standards and connect westbound-traveling vehicles, transit/HOV, bicycles and pedestrians from the new floating bridge to the Montlake area.
A 350 meter long line of light running along the ground, up facades and on rooftops in Sandvigå, Stavanger.
A Little Black Dress looks on after being moved from the Library and Research Center to the Missouri History Museum as installation happens all around.
Indiana University President Pamela Whitten presides over the installation of Ken Iwama as the seventh Chancellor of IU Northwest. The photo was taken at the Arts & Sciences Building Theater on Friday, October 1, 2021.
Shelf
Dimensions: 5 ft’ 5.5ft
Material: Wood and metal pipes
This installation is made out of waste pipes that have been rusted and are defunct due to any reason. A team of 5 boys, leaded by me, has developed this idea of making a productive installation that can be put to some use. The installation incorporates pipes of various sizes and with that it gives space to other material too like taps and valves. All the material used was obtained from either the construction sites of toilets or the waste collectors. The objects in the installation that were not obtained out of waste were wooden planks. These were cut out according to the requirement and to fulfil the desired design. The turns and twists in the design of the shelf gives it a very different look and attracts people to look at it closely.
This shelf is currently being used by the School’s Art department to display various Clay Models and other Sculptures.
long exposure. documentation of nighttime installation
i am really interested in how context alters a piece of art and vice versa. i use the same group of objects within my installations, bringing in others found on site. the expectations and connotations brought to the piece are very different depending on the situation eg: a gallery, shop or outdoors. with this ongoing set of work i am interested in how this affects the reading of the piece.
* this installation was designed to be experienced at night outside. to be a kind of ellusive happening or mirage. however, after developing the photographs, i felt that the piece worked better in this second format.
what do people think about this, and the documentation becoming art thing?
CHANCE CITY, an installation composed of losing lottery tickets, is under preparation for the exhibition Jean Shin: Common Threads at the American Art Museum. The construction of this piece takes nearly two weeks and a steady hand.
U.S. Air Force Fact Sheet
E-3 SENTRY (AWACS)
E-3 Sentry celebrates 30 years in Air Force's fleet
Mission
The E-3 Sentry is an airborne warning and control system, or AWACS, aircraft with an integrated command and control battle management, or C2BM, surveillance, target detection, and tracking platform. The aircraft provides an accurate, real-time picture of the battlespace to the Joint Air Operations Center. AWACS provides situational awareness of friendly, neutral and hostile activity, command and control of an area of responsibility, battle management of theater forces, all-altitude and all-weather surveillance of the battle space, and early warning of enemy actions during joint, allied, and coalition operations.
Features
The E-3 Sentry is a modified Boeing 707/320 commercial airframe with a rotating radar dome. The dome is 30 feet (9.1 meters) in diameter, six feet (1.8 meters) thick, and is held 11 feet (3.33 meters) above the fuselage by two struts. It contains a radar subsystem that permits surveillance from the Earth's surface up into the stratosphere, over land or water. The radar has a range of more than 250 miles (375.5 kilometers). The radar combined with an identification friend or foe, or IFF, subsystem can look down to detect, identify and track enemy and friendly low-flying aircraft by eliminating ground clutter returns that confuse other radar systems.
Major subsystems in the E-3 are avionics, navigation, communications, sensors (radar and passive detection) and identification tools (IFF/SIF). The mission suite includes consoles that display computer-processed data in graphic and tabular format on video screens. Mission crew members perform surveillance, identification, weapons control, battle management and communications functions.
The radar and computer subsystems on the E-3 Sentry can gather and present broad and detailed battlefield information. This includes position and tracking information on enemy aircraft and ships, and location and status of friendly aircraft and naval vessels. The information can be sent to major command and control centers in rear areas or aboard ships. In time of crisis, this data can also be forwarded to the president and secretary of defense.
In support of air-to-ground operations, the Sentry can provide direct information needed for interdiction, reconnaissance, airlift and close-air support for friendly ground forces. It can also provide information for commanders of air operations to gain and maintain control of the air battle.
As an air defense system, E-3s can detect, identify and track airborne enemy forces far from the boundaries of the United States or NATO countries. It can direct fighter-interceptor aircraft to these enemy targets. Experience has proven that the E-3 Sentry can respond quickly and effectively to a crisis and support worldwide military deployment operations.
AWACS may be employed alone or horizontally integrated in combination with other C2BM and intelligence, surveillance, and reconnaissance elements of the Theater Air Control System. It supports decentralized execution of the air tasking order/air combat order. The system provides the ability to find, fix, track and target airborne or maritime threats and to detect, locate and ID emitters. It has the ability to detect threats and control assets below and beyond the coverage of ground-based command and control or C2, and can exchange data with other C2 systems and shooters via datalinks.
With its mobility as an airborne warning and control system, the Sentry has a greater chance of surviving in warfare than a fixed, ground-based radar system. Among other things, the Sentry's flight path can quickly be changed according to mission and survival requirements. The E-3 can fly a mission profile approximately 8 hours without refueling. Its range and on-station time can be increased through in-flight refueling and the use of an on-board crew rest area.
Background
Engineering, test and evaluation began on the first E-3 Sentry in October 1975. In March 1977 the 552nd Airborne Warning and Control Wing (now 552nd Air Control Wing, Tinker Air Force Base, Okla.), received the first E-3s.
There are 32 aircraft in the U.S. inventory. Air Combat Command has 27 E-3s at Tinker. Pacific Air Forces has four E-3 Sentries at Kadena AB, Japan and Elmendorf AFB, Alaska. There is also one test aircraft at the Boeing Aircraft Company in Seattle.
NATO has 17 E-3A's and support equipment. The first E-3 was delivered to NATO in January 1982. The United Kingdom has seven E-3s, France has four, and Saudi Arabia has five. Japan has four AWACS built on the Boeing 767 airframe.
As proven in operations Desert Storm, Allied Force, Enduring Freedom, Iraqi Freedom, and Odyssey Dawn/Unified Protector the E-3 Sentry is the world's premier C2BM aircraft. AWACS aircraft and crews were instrumental to the successful completion of operations Northern and Southern Watch, and are still engaged in operations Noble Eagle and Enduring Freedom. They provide radar surveillance and control in addition to providing senior leadership with time-critical information on the actions of enemy forces. The E-3 has also deployed to support humanitarian relief operations in the U.S. following Hurricanes Rita and Katrina, coordinating rescue efforts between military and civilian authorities.
The data collection capability of the E-3 radar and computer subsystems allowed an entire air war to be recorded for the first time in the history of aerial warfare.
In March 1996, the Air Force activated the 513th Air Control Group, an AWACS Reserve Associate Program unit which performs duties on active-duty aircraft.
During the spring of 1999, the first AWACS aircraft went through the Radar System Improvement Program. RSIP is a joint U.S./NATO development program that involved a major hardware and software intensive modification to the existing radar system. Installation of RSIP enhanced the operational capability of the E-3 radar electronic counter-measures and has improved the system's reliability, maintainability and availability.
The AWACS modernization program, Block 40/45, is currently underway. Bock 40/45 represents a revolutionary change for AWACS and worldwide Joint Command and Control, Battle Management, and Wide Area Surveillance. It is the most significant counter-air battle management improvement in Combat Air Forces tactical Command and Control history. The Block 40/45 Mission Computer and Display upgrade replaces current 1970 vintage mission computing and displays with a true open system and commercial off-the-shelf hardware and software, giving AWACS crews the modern computing tools needed to perform, and vastly improve mission capability. Estimated fleet upgrades completion in ~2020.
General Characteristics
Primary Function: Airborne battle management, command and control
Contractor: Boeing Aerospace Co.
Power Plant: Four Pratt and Whitney TF33-PW-100A turbofan engines
Thrust: 20,500 pounds each engine at sea level
Rotodome: 30 feet in diameter (9.1 meters), 6 feet thick (1.8 meters), mounted 11 feet (3.33 meters) above fuselage
Wingspan: 145 feet, 9 inches (44.4 meters)
Length: 152 feet, 11 inches (46.6 meters)
Height: 41 feet, 9 inches (13 meters)
Weight: 205,000 pounds (zero fuel) (92,986 kilograms)
Maximum Takeoff Weight: 325,000 pounds (147,418 kilograms)
Fuel Capacity: 21,000 gallons (79,494 liters)
Speed: optimum cruise 360 mph (Mach 0.48)
Range: more than 5,000 nautical miles (9,250 kilometers)
Ceiling: Above 29,000 feet (8,788 meters)
Crew: Flight crew of four plus mission crew of 13-19 specialists (mission crew size varies according to mission)
Unit Cost: $270 million (fiscal 98 constant dollars)
Initial operating capability: April 1978
Inventory: Active force, 32 (1 test); Reserve, 0; Guard, 0
Point of Contact
Air Combat Command, Public Affairs Office; 130 Andrews St., Suite 202; Langley AFB, VA 23665-1987; DSN 574-5007 or 757-764-5007; e-mail: accpa.operations@langley.af.mil
JORDI COLOMER
Prohibido Cantar / No Singing. Obra didáctica sobre la fundación de una ciudad paradisíaca.
Desde el 14 de septiembre
Precio: Entrada libre
Institución:
Abierto x Obras
Inauguración: Viernes 14 de septiembre a las 20 h.
Jordi Colomer es el encargado de esta nueva creación site specific en la antigua cámara frigorífica de Matadero. La obra de Colomer explora una singular visión de la escultura incorporando dispositivos escénicos, fotografía y videoinstalación.
'Os será más fácil sacarles el oro a los hombres que a los ríos'1
"La fundación de una ciudad no es forzosamente un acto heroico. Para las ciudades antiguas, la arqueología tantea un orden cronológico, desempolva las pruebas del suceso, mientras la Historia y la leyenda proponen sus relatos. Dice Jorge-Luis Borges: 'A mí se me hace cuento que empezó Buenos Aires: La juzgo tan eterna como el agua y como el aire'2.
Pero cada día, empiezan nuevas ciudades, construidas de agua, de hormigón, de sudor y de dinero. Algunas son -casi- pura idea. En su programa electoral el presidente Kubitschek prometió la creación de una moderna capital para Brasil y, en tres años, Brasilia se levantó entre las malezas del plano alto central, siguiendo fielmente los planes de Lucio Costa. A su vez los obreros que la pusieron en pie, venidos de todas las regiones del país, plantaron sus chamizos trémulos donde dormir y fundaron -sin saberlo- su propia ciudad. Hay ciudades de cristal que crecen en los despachos, y otras de lata y cartón que bailan al ritmo de sus propios habitantes. En una ocasión, a un grupo de forajidos a los que la policía les pisaba los talones se les estropeó el camión en pleno desierto. No podían seguir, ni ir hacia atrás. Fundaron entonces allí mismo una ciudad paradisíaca, la ciudad dorada, donde el mayor de los crímenes era no tener dinero. Esa ciudad se llama Mahagonny y Bertolt Brecht la imaginó al tiempo que Las Vegas brotaba con la forma de ciudad que hoy conocemos.
En Prohibido cantar / No Singing unos pocos personajes plantan un garito donde se ofrecen juegos de entretenimiento, trucos, amor y comida a bajo precio. La acción transcurre cerca de un camino polvoriento, en los mismos solares en los que hace un tiempo se proyectó una gran ciudad privada, con 32 casinos, llamada Gran Escala, que debía atraer a 25 millones de visitantes, pero que nunca vió la luz. Las imágenes que presentamos (en 7 pantallas) muestran cómo prospera la ciudad de Eurofarlete, bajo un sol inclemente y el cierzo soplando. Están compuestas de fragmentos de lo que allí sucedió durante dos días, y quizás ayuden a discernir una singular forma de organización por la supervivencia, donde todo está en venta, a precio de ganga y también a cualquier precio".
Jordi Colomer
1 Bertolt Brecht. Ascenso y caída de la ciudad de Mahagonny.1927-30.
2 Jorge Luis Borges. Fundación mítica de Buenos Aires in Fervor de Buenos Aires, 1923
BIOGRAFÍA
Jordi Colomer (1962) nació en Barcelona, ciudad en la que estudió Arte en EINA, Historia del Arte en la Universidad Autónoma y Arquitectura en la ETSAB. Vive y trabaja entre Barcelona y París.
Desde sus inicios el trabajo de Jordi Colomer ha ido incorporando a una singular visión de la escultura elementos de los dispositivos escénicos. Desde 1997 ha privilegiado el uso de la fotografía y la video-instalación. Sus primeros vídeos tomaban forma de micro-narraciones de raíz beckettiana, en los que los habitantes se debaten con objetos, decorados y espacios artificiales. En un segundo período estos personajes recorren la calle y el desierto con gestos y derivas que - (no exentos de cierto humor absurdo) - contagian un marcado espíritu crítico. Las obras de Colomer exploran las posibilidades de supervivencia poética que ofrece la urbe contemporánea. Así surgen obras como Anarchitekton (2002-2004), proyecto itinerante a través de cuatro ciudades (Barcelona, Bucarest, Brasilia, Osaka), No? Future! (rodada en Le Havre, 2004), Arabian stars (Yemen, 2005), Cinecito (La Habana, 2006), En la Pampa (realizada en el desierto de Atacama, Chile, 2008), Avenida Ixtapaluca (houses for México, 2009), The Istanbul Map (Istanbul, 2010), o más recientemente la trilogía What will come (Nueva York, 2010-11) donde los propios habitantes escriben el guión con sus desplazamientos en la suburbia americana ; o el proyecto Crier sur les toits (gritar a los cuatro vientos, 2011) donde se propone utilizar las azoteas como un pedestal a escala urbana, instituyendo una fiesta mundial. En l’Avenir (2011), inspirada en el Falansterio de Charles Fourier, las imágenes dan rostro a los habitantes de un proyecto utópico y son a la vez un comentario sobre sus posibilidades de materializarse. La instalación Prohibido cantar que aquí se presenta, investiga una vez más esa tensión entre proyecto y realidad, dibujando un espacio híbrido, a la vez totalmente físico y puramente mental; los proyectos de construcción de una ciudad de oro y casinos, que los medios anuncian tiene visos de precisarse y un lugar con mucho viento, contaminado por proyectos imaginarios del pasado y ahora ocupado por personas jugando a la ficción. Nótese que el propio espacio de Abierto x Obras ha quedado transformado por efecto de todas estas visitas.
Ha trabajado también como escenógrafo para el teatro en obras de Joan Brossa, Samuel Beckett, Valère Novarina así como en una ópera de Robert Ashley.
PROHIBIDO CANTAR / NO SINGING. JORDI COLOMER
(Didactic work on the foundation of a paradise city)
From 14 of september
to 09 of december
Price: Free
Institution:
Abierto x Obras
GALERÍA DE FOTOS
[ver + fotos]
'It's easier getting gold out of men than from rivers'. Bertolt Brecht,
The Rise and Fall of the City of Mahagonny, 1927-30
The foundation of a city is not necessarily a heroic act. Everyday a new city begins to be built on water, concrete, sweat and money. Some are -almost- a pure idea. In his election manifesto president Juscelino Kubitschek promised the creation of a modern capital for Brazil in three years, Brasilia was built amongst the weeds of the high central plane, faithfully following the plans of Lucio Costa. At the same time the builders, who came on foot from all parts of the country, pitched their trembling huts where they slept and founded– without knowing it- their own city.
There are glass cities that grow out of offices and others made from tin and card that dance to the rhythm of their own inhabitants. On one occasion, a group of outlaws were being tailed by the police, when their truck broke down in the middle of the desert. They couldn't keep going or turn back. So they ended up founding a paradise city, the golden city, where the worst crime was not to have any money. That city was called Mahagonny and Bertolt Brecht envisioned it at the time when Las Vegas came about shaping the image of the city that we recognise today.
In Prohibido cantar / No Singing a few characters make a gambling den where they offer entertainment games, tricks, love and food at low prices. The action takes place close to a dusty road, on the same plot of land and during the time in which a great private city was planned, with 32 casinos, called Gran Escala, which was to attract 25 million visitors, and yet never saw the light of day. These images reveal how the city of Eurofarlete thrives, under a blazing sun and strong blowing winds. Fragments of what passed there over two days may help to discern the particular form of organisation needed for survival, where everything is on sale at a bargain price or indeed at any price.
Jordi Colomer (Barcelona, 1962) His work explores the possibility of poetic survival that is offered by the contemporary metropolis through a unique vision of sculpture incorporating scenic devices, photography and video installation. Prohibido Cantar / No Singing returns to investigate the tension between project and fiction and creates a hybrid space, on both a physical and mental plane. He has been educated in art, art history and architecture, among his latest solo shows are l'Avenir in the Palais de Beaux Arts (Brussels), What will come in the Argos Centre for Art and Media (Brussels), Co Op City at the Bronx Museum of the Arts (New York), Fuegogratis in the Laboratorio Arte Alameda (México D.F.), La Panera (Lleida) and Galerie du Jeu de Paume (Paris).
Installation Error graphic available for download at http://dryicons.com/free-graphics/preview/installation-error/ in EPS (vector) format.
View similar vector graphics at DryIcons Graphics.
The 25m high chandelier OLED lights installation by French artist Thierry Gaugain in the airwell at Robinsons Orchard.
www.oksasenkatu11.fi/blog/?m=201412
Pekka Niittyvirta & Saara-Maria Kariranta – Installations
The interactive works of the exhibition deal with communication, invisible power structures and surveillance.
Open daily 19.12.-31.12. 2014 , 14-18 p.m. 24.-25.12. closed.
Opening Thursday 18.12. at 18-20 , welcome!