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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.
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.
Designing an installation into a container of given dimensions with the name 'Living Environmet'. I chose a sociological approach, where I created spaces that represent different stages and aspects of life, be it aspects of financial, educational, nutritional, working or healthcare matters. I however became more interested in the actual spaces themselves, than the setting of the rooms, therefore I wanted to express the characteristics of each room using only spatial means, that is the sizes and shapes of the rooms, and the nature of the passages between each two.
foam board 15cm x 45cm x 15cm
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?
Staff engineer Dominique White, center, talks with project manager Dennis Martinez-Galarce as they install one of the last cryomodules for LCLS-II. (Jacqueline Ramseyer Orrell/SLAC National Accelerator Laboratory)
More images from cryomodule delivery: www.flickr.com/photos/slaclab/albums/72157717712085441/wi...
CCS Presentation Systems is truly a leader in the Higher Education audio visual market. Our team of systems integrators works directly with clients to develop new approaches to education through technology and its dissemination across local networks and multiple campuses. We have a strong history of support for educational entities, and a great interest in our clients' ultimate goal of integrating technology into classroom instruction to increase student engagement and retention. bit.ly/10SE11i
Interzone is an audiovisual reactive installation, made for transition public places ( such as tunnels, hallways, stairs, …).
It represents a post-apocalyptic place that does not obey
to the laws of physics as we know, a place where occur space-time abnormalities, unexplained phenomena.
"I do not know that happens here when there is no human being.Places that were safe are now impassable "
6 infrared sensors connected to an arduino detects the user presence, and send his position to processing. With this input information processing triggers functions that will determine the projections and sounds.
sound loops by from : alva noto /ryoji ikeda
ambient sound by Miguel Neto
barcelona, december 2009.
rodrigo carvalho, dafne polyzos
WATCH THE INTERZONE VIDEO HERE ::
more info@ the projectWebPage ::
visiophone-lab.com/data/visiophone
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visiophone-lab.com
I was lucky to catch this installation at the Cathedral in April 2018, it was only up for a few more days but looked amazing while it lasted.
Hereford Cathedral is a fascinating place, not one of largest cathedrals or considered amongst the most architecturally significant, but one of the most interesting and rewarding nonetheless. It follows the usual cruciform plan for large churches but here the nave is the longest limb, the choir being relatively short for a cathedral, though the church extends further eastwards in the fine retrochoir and lady chapel. there are an eastern pair of transepts too, though here they do not rise above aisle roof level.
The central tower dominates the small city's skyline, but much less today than it once did, for originally it was crowned by a tall lead spire, and in addition there was a similar, slightly smaller tower at the west end (without a spire) thus the building's profile was very different to what we see today. Sadly this fine building has suffered several tragedies in it's history, the greatest of which was in 1786, when the west tower suddenly collapsed following an earth tremor, taking much of the nave with it. The architect chosen for the reconstruction was the notorious James Wyatt, who demolished all the remaining upper sections of the nave and substituted them with his own rather bland interpretation of Gothic. He also shortened the nave by one bay and built a rather mean west facade without rebuilding the west tower (the main tower also lost it's spire around this time). The present west facade is a more exuberant rebuilding by John Oldrid Scott from 1902-8.
The cathedral has generally been heavily restored throughout the 19th century (largely due to the red sandstone of it's construction) and parts of the exterior betray this, particularly the east facades of choir and Lady Chapel. There is still much to enjoy though, especially the 14th century tower with it's rich ballflower decoration. Entry is normally via the grand north porch, whichj has a large upper chapel and staircases either side, formerly for the veneration of relics.
The interior shows much more 12th century Norman work than the exterior suggests, with the main nave arcade, crossing arches, and much of the choir and south transept still substantially Romanesque structures. Aside from Wyatt's 1788 rebuilding of the upper parts of the nave, the rest is mostly of late 13th - early 14th century date, with distinctive window design of the Decorated period found throughout the nave and choir aisles. The most remarkable feature is the north transept, a unique design dating to c1260, where the Gothic arches and window heads are almost triangular in form.
There is a substantial complex of additional monastic buildings, including two cloisters, the main one being south of the nave (only the east and south sides remain) and the Vicar's Choral cloister, accessed via a long walkway off the south east corner, and still inhabited by cathedral staff and thus private. The real tragedy here is the chapter house, of which very little remains. This was once arguably the most exceptionally beautiful in the country, being ten-sided and covered by an exquisite fan vault. It was sadly neglected following the Civil War and demolished soon afterwards, a grevious loss.
The cathedral retains a fine set of 14th century choir stalls with carved misercords complete with the canopied bishop's throne. The font is Norman and features defaced figures of apostles and is guarded by four lions. The stained glass is mostly Victorian with only a few 15th century fragments in a south nave window and some good (but restored) 13th century scenes and grisaille in a Lady Chapel window. The best of the glass is found in the two smallest chapels, the Stanbury and Audley chantries, with Arts & Crafts and stunning contemporary work by Denny respectively. There was a rich Victorian metal choir screen at the crossing by G.G.Scott, but this was removed in the 1950s and is now (after years of storage and neglect) a major feature in the entrance to the Victoria & Albert Museum, London. A contemporary candleabrum, the 'Corona', now hangs in it's place.
The set of monumental effigies is one of the most extensive in any English cathedral, but only a few are of the finest quality, and many have suffered later disfigurement, in the case of the medieval bishops' tombs several figures have been quite literally de-faced, whilst the post-Reformation tombs clearly offended Wyatt, who removed their architectural settings altogether leaving only the recumbent effigies randomly placed throughout the church.
But last word must go to the most famous relic of Hereford, the Mappa Mundi, the renowned c1280 map of the medieval World and the star exhibit of the famous chained library, now housed in a modern extension at the south west corner of the cloister.
Human Writes
Performance installation by William Forsythe and Kendall Thomas
Concept: William Forsythe / Kendall Thomas
Stage / lighting / costumes: William Forsythe
Sound design: Dietrich Krüger / Niels Lanz / Thom Willems
Performance at the United Nations Office at Geneva - Feb 23, 24, 25.
In 1948, the General Assembly of the United Nations adopted the Universal Declaration of Human Rights. Over 50 years later, in a joint project with Professor Kendall Thomas, The Forsythe Company focuses on the act of inscribing basic rules for both the individual and society. «Human Writes» is a performative installation that reflects the history of human rights and the continuing obstacles to their full implementation.
(Imanuel Schipper)
The Geneva performance of Human Writes was undertaken with the support of teh UN office at Geneva in cooperation with the Permanent Missions of Switzerland, the United States, and Germany.
Ambassador Eileen Chamberlain Donahoe’s Remarks at the Opening of the Human Writes Performance: geneva.usmission.gov/2012/02/27/ambassador-donahoe-welcom...
See the Wiliam Forsythe Website for more information: www.williamforsythe.de/installations.html?&no_cache=1...
U.S. Mission Photos by Eric Bridiers
This is the curved lamination portion of the keel. Before applying epoxy, I roughed up the inside keel raidius with a wood rasp to put some teeth into the wood. The forward end terminates at the start of the plumb portion of the stem. A separate straight laminated piece of keel will cover this plumb portion.
On the keel at the plumb stem, I put a 1/4" bevel on the keel edges to give the hint of an old time wooden boat stem. This shape is carried a short distance onto the knuckle portion of the laminated keel.
However, this beveling is underwhelming in appearance but with 1" wide stainless steel half round centered on the 1 1/2" wide keel edge the bevel can't be any wider but perhaps deeper. With the boat upright thus a better perspective of the plumb stem, I may glue some fir on the sides of the keel to expand the width say for a foot or two from the top of the stem. Then I can do some wood shaping to get the look I want.
Blocks of scrap wood were hot glued to the hull both port and starboard and then short strips of wood were glued to the blocks and then the keel in order to hold the keel in proper position as the epoxy cured. If someone tries to take your hot glue gun...kill them.
In this part of the Austin area we have about 6" of top soil and then limestone slabs, thus limestone is almost as cheap as dirt. The good news...houses don't settle and don't disappear in mud slides. The bad news...you need to rent a jack hammer to plant a shrub.
Reference Code: 001.02.214
Title: Installation Photo 104
Date: 22 November 1977
Extent (inches): 8 x 10
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â–¶ from Bishop Ottenweller Photographs (001.002.1)
â–¶ The photos on the Diocese of Steubenville Archive's Flickr site may be used by non-commercial entities only for educational and/or research purposes as long as credit is given to the "Diocese of Steubenville Archive, Steubenville, OH." These photos may not be reproduced in any format for profit or other presentation without the permission of the Diocese.
Reference Code: 001.02.189
Title: Installation Photo 78
Date: 22 November 1977
Extent (inches): 8 x 10
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â–¶ from Bishop Ottenweller Photographs (001.002.1)
â–¶ The photos on the Diocese of Steubenville Archive's Flickr site may be used by non-commercial entities only for educational and/or research purposes as long as credit is given to the "Diocese of Steubenville Archive, Steubenville, OH." These photos may not be reproduced in any format for profit or other presentation without the permission of the Diocese.