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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?
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
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
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.
Installation of Miami Domino Dream by conceptual artist, Bo Droga, University Metrorail Station, Coral Gables, FL
The seventeenth primary mirror segment installed on the James Webb Space Telescope. This completes the center section of the mirrors. Next come the two wings. This is the view from the Webbcam: jwst.nasa.gov/webcam.html
Credit: NASA
www.greenhomeenergysolutions.co.uk/ 08452 413444, 126 Whyke Lane , Chichester , West Sussex, PO19 8AS
solar panel installation chichester
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...
at Babylon Falling.
Thanks to everyone who came out to make it another successful show and to David Lee for such an amazing installation. See you at the wrap dinner buddy.
Monte-Carlo (en monégasque Monte-Carlu) est l'un des onze quartiers de la cité-État de la principauté de Monaco. C'est le plus connu, avec son célèbre casino.
Monte-Carlo (le « Mont-Charles ») porte ce nom italien en l'honneur du prince Charles III de Monaco et ce depuis le 1er juillet 1866.
Ce nom a été adapté en monégasque : Monte-Carlu [ˌmõteˈkaʀlu]. Cette appellation récente sonnant particulièrement bien a été donnée au lieu-dit les Spélugues (à comprendre les « Grottes » ; en monégasque Ë Speřüghe, du roman commun et au singulier *speluca, correspondant au latin classique spelunca lui-même issu du grec 'σπήλαιον'='spèlaion' signifiant grotte) après son urbanisation (Casino) : ne disait-on pas que l'ancien nom portait malchance puisqu'en allemand Spelunke (pluriel Spelunken) malgré son étymologie identique, désigne un « établissement douteux ».
Ce sont les règles typographiques relatives aux toponymes en usage à l'Imprimerie nationale qui imposent d'écrire Monte-Carlo avec un trait d'union. Il existe une commune italienne graphiée Montecarlo située dans la province de Lucques en Italie ; ses habitants sont les montecarlesi.
On prononce généralement« Monté-Carlo », mais certains disent « Monté-Carl' ». On n'utilise pas d'autre gentilé que Monégasques pour les habitants de Monte-Carlo.
Monte-Carlo est le quartier le plus célèbre de Monaco, au point d'être parfois confondu avec le pays entier, ou considéré — à tort — comme sa capitale. Les plaques automobiles de la Principauté portent la mention "MC" rappelant Monte Carlo alors qu'il s'agit d'une abréviation de Monaco. RMC (Radio Monte-Carlo) porte le nom du quartier et non celui du pays. Pour les courses automobiles, il y a le Grand Prix automobile de Monaco et le Rallye automobile Monte-Carlo.
Le développement de Monte-Carlo entraîna la création d'une véritable « banlieue » en territoire français qui devint une commune sous le nom de Beausoleil en 1904 et que l'on avait d'abord pensé appeler Monte-Carlo supérieur.
En 1856, le Prince de Monaco, pour créer des ressources, autorise l'ouverture d'un casino. Après une première installation infructueuse dans le Monaco historique (Munegu Autu - Monaco Ville), en 1862, on élève à Monte-Carlo, pour les jeux, une humble bâtisse (inaugurée en 1863) qui reste isolée, nul ne voulant acheter aux alentours un terrain avec obligation de construire. Mais tout va changer quand François Blanc, le directeur du casino de Bad Homburg, ville d'eau hessoise (située dans l'État de Hesse-Hombourg) devient concessionnaire. Grâce à ses talents et à ses capitaux, il réussit là où ses prédécesseurs s'étaient ruinés : en peu d'années, la vogue est acquise et une ville couvre bientôt le plateau de ses constructions de luxe.
En 1911, la constitution monégasque divisa la principauté en trois communes, la Commune de Monte-Carlo fut ainsi créée couvrant également les actuels quartiers de La Rousse/Saint Roman, Larvotto/Bas Moulins et Saint Michel. En 1917, on revint à une commune unique pour toute la principauté.
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Monte Carlo é um dos 11 bairros de Mónaco. Conhecida estância luxuosa, conhecida pelo seu glamour, celebridades que enxameiam as revistas cor de rosa, praias e casinos.
É aí que se situa o Circuito do Mónaco, onde decorre o Grande Prémio do Mónaco de Fórmula 1. É palco, ainda, de competições de boxe, apresentações de moda e outros eventos de grande repercussão cultural.
Em uma pesquisa realizada em 2009 pelo Global Property Guide ("Word´s Most Expensives Residential Real Estate Markets 2009"), os imóveis em Monte Carlo foram considerados os mais caros do mundo, com o metro quadrado custando 47.578 dólares, mais que o dobro da segunda colocada, Moscou
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Monte Carlo (French: Monte-Carlo, Occitan: Montcarles, Monégasque: Monte-Carlu) is one of Monaco's administrative areas.The official capital is the city of Monaco, which is coterminous with the country itself.
Monte Carlo is widely known for its casino. The permanent population is about 3,000. Monte Carlo quarter includes not only Monte Carlo proper where the Le Grand Casino is located, it also includes the neighbourhoods of Saint-Michel, Saint-Roman/Tenao, and the beach community of Larvotto. It borders the French town of Beausoleil (sometimes referred to as Monte-Carlo-Supérieur).
Founded in 1866, Monte Carlo has a name of Italian origin meaning "Mount Charles", in honor of the then-reigning prince, Charles III of Monaco. The specific mountain is the escarpment at the foot of the Maritime Alps on which the town stands.
The history of the area and the ruling Grimaldi family, however, dates back centuries. The port of Monaco is first mentioned in historical records as early as 43 BC, when Julius Caesar concentrated his fleet there while waiting in vain for Pompey. In the 12th century, the area fell under the sovereignty of Genoa, which was granted the entire coastline from Porto Venere to Monaco. After much conflict, the Grimaldis regained the rock in 1295, but suffered a significant amount of opposition in the ensuing years. In 1506 the Monegasques, under Lucien, Lord of Monaco, were under siege for some four months by the Genoan army, which had ten times the number of men. Monaco officially received full autonomy in 1524, but experienced difficulty retaining power, and on occasions briefly fell under the domination of Spain, Sardinia, and France.
By the 1850s, Monaco’s reigning family was almost bankrupt; this was a result of the loss of two towns, Menton and Roquebrune, which had provided most of the principality’s revenues with their lemon, orange and olive crops.[3] At the time, a number of small towns in Europe were growing prosperous from the establishment of casinos, notably in German towns such as Baden-Baden and Homburg[disambiguation needed]. In 1856, Charles III of Monaco granted a concession to Napoleon Langlois and Albert Aubert to establish a sea-bathing facility for the treatment of various diseases, and to build a German-style casino in Monaco.[3] The initial casino was opened in La Condamine in 1862, but was not a success; its present location in the area called "Les Spelugues" (The Caves) of Monte Carlo, came only after several relocations in the years that followed. The success of the casino grew slowly, largely due to the area's inaccessibility from much of Europe. The installation of the railway in 1868, however, brought with it an influx of people into Monte Carlo and saw it grow in wealth.[3]
In 1911, when the Constitution divided the principality of Monaco in 3 municipalities, the municipality of Monte Carlo was created covering the existing neighborhoods of La Rousse / Saint Roman, Larvotto / Bas Moulins and Saint Michel. The municipalities were merged into one in 1917, after accusations that the government was acting according to the motto "divide and conquer" and they were accorded the status of wards (quartiers) thereafter. Today, Monaco is divided into 10 wards, with an eleventh ward planned (but currently postponed) to encompass land reclaimed from the sea (see the "Administrative Divisions" section of Monaco for additional details).
The quarter of Monte Carlo was served by tramways from 1900 to 1953, linking all parts of Monaco. In 2003, a new cruise ship pier was completed in the harbour at Monte Carlo.
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.
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 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: 001.02.190
Title: Installation Photo 79
Date: 22 November 1977
Extent (inches): 8 x 10
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▶ from Bishop Ottenweller Photographs (001.002.1)
▶ 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.