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Various Artists
Monday 4 - Wednesday 13 November, 10:00am - 4:00pm
Wellgate Shopping Centre
Level 1, Space 2
Dundee, DD1 2DB
This exhibition, curated by Weave at Abertay, brings together emerging and established digital artists/activists whose work comments, reflects and challenges ideas relating to socio-political issues and events. It is a survey of media objects of protest against hostile acts and environments over the past 35 years.
How are digital artists using their practice to facilitate conversations around complex socio-political issues? How do we protest differently in a digital age?
It is a turbulent time across the globe – from the challenges of Brexit to the protests in Hong Kong, from the growing Climate Emergency movement to the rise in Nationalism — the international socio-political landscape is increasingly subject to crisis and change.
These events and activities, while tied to specific cultural and socio-political contexts, often transcend borders and speak to collective concerns for alternative forms of democracy and citizen-informed solutions to complex issues.
Digital devices and platforms have encouraged the public to engage more with social and political issues, expanding opportunities for citizens to directly participate in civil society action. Blogs, petition platforms, crowdfunding sites, e-voting and other online forums and tools offer new means for individuals to contribute to shaping political debate and driving ‘real-world’ change.
It is against this diverse backdrop of politics, and the participatory nature of digital technologies, that many artists are producing work today.
The exhibition reflects on gun culture through Joseph Delappe’s Elegy: GTA USA Gun Homicides and Addie Wagenknecht’s series The Liberator Vases of 3D printed vases made using the first open source downloadable handgun. Irene Tokini Fubara-Manuel’s videogame ‘Dreams of Disguise: Errantry’ we explore issues of agency at border control and in Tina Keane’s video installation we recognise women’s historical struggle against nuclear weapons at Greenham Common . Igor Vamos’ (Yes Men) Barbie Liberation Organization playfully challenges gender-norms and Echo Youth by Matthew Plummer-Fernandez frames physical protest for a digital era.
The title of the exhibition is inspired by Roxy Music’s song, ‘Re-make/Re-model’ and makes reference to musician and theorist Brian Eno’s perspectives on technology, society and the future.
Weave by Abertay, based at Abertay University, creates a vibrant programme of cultural events across the city of Dundee, sharing local and global creativity.Weave gives a platform to national and international artists and designers to share their practice. Weave supports the talent and innovation of Abertay students and staff by working closely with the School of Design and Informatics. They collaboratively explore creative projects relating to Digital Culture, building on Abertay’s international reputation for excellence in computer games education. Through a series of talks, workshops, exhibitions and performances Weave collaborates with cultural partners across the city to make new connections, share knowledge and create cultural happenings across Dundee.
With gratitude and thanks to
Abertay University’s School of Design and Informatics
Adam Lockhart
Andrew McLean
Andy Slater
bitforms gallery
Creative Scotland
DJCAD, University of Dundee
Gerald High
Joseph DeLappe
Martin Zeilinger
Sarah Cook
Steve Page
Wellgate Centre
And our brilliant volunteer team.
Photography Kathryn Rattray
LSRC #800 and its buddies rock and roll through the yard lead in the old Detroit & Mackinac yard, doing some switching making up the evening trains for Alpena and Grayling.
Bought one of these from ebay (Universal Rotary Base) as a possible alternative base for Woody.
Better made and possibly more versatile than the existing one, but also more expensive!
Costs as much as a complete laser level set which includes a case and tripod.
The central ridge helps to hold the socket for the screw which clamps it together, so perhaps can't be removed entirely.
Not really suitable for my 25mm MDF unit, but has possibilities if using a metal framework.
A bit stiff, but a change to molybdenum grease would probably help.
Either that,or the addition of a thrust bearing?
Has 1/4", 3/8" and 5/8" tapped tripod mounting holes in the base.
Kings Cross Top Shed 34A A3 4-6-2 No 60039 SANDWICH passing Holbeck High Level with a Leeds Central to London Kings Cross, one month after been fitted with smoke deflectors and probably the reason I took this rather poor photo..
Built at Doncaster (Wks No 1794) and delivered to Gateshead shed as LNER No 2504 in September 1934, allocated the number 574 under the 1st 1946 renumbering scheme but it was never applied she was renumbered 39 in July 1946 and 60039 in July 1948. Fitted with double chimney in July 1959 and smoke deflectors in June 1961, withdrawn in March 1963 and scrapped at Doncaster the following month.
Photo details
Negative scan
Ilford HP3 Film
Camera Ensign Selfix 820.
Copyright © Keith Long - All rights reserved.
Probably the longest gap between uploads for me. I'm not gone, just in a torpor but will be back.
Something a bit different. A scan of a recent Mamiya shot. Please excuse the terrible scan artifacts, I'm embarrassed to say my scanner is a 3-in-1 cheapy printer scanner that takes an age to scan even this small a shot.
The William IV Pub had a devastating fire in a shed and it spread to the living quarters on the 9th August 2015.The rebuild started on the 2nd November 2015.This is a photo reference for all to see of its progress to its former glory.
You know how level crossings always have these antique looking steam train signs. Well for once, here was a level crossing that crossed over a steam line. The tiny but lovely Ravenglass and Eskdale raillway wasn't running quite yet though.
In addition to celebrating the 249th birthday of the United States of America, I also celebrate becoming the proud owner of a Canon EOS R5 Mark II.
National Grid power lines cross reclaimed fields in the wetland landscape of England's Somerset Levels.
All photographs are © copyright by Rakhi Rawat. Please do not copy, use and modify any of my photographs without my explicit written permission. All rights reserved.
During the early days of my South Bay photography, Cargill’s Newark salt plant and its surrounding crystallizer beds appeared on my map as terra incognita. From the beginning, I wanted to photograph Cargill’s facility, both for its colorful nature and its role as the last truly active salt plant in the Bay Area. The plant, originating as Arden Salt Works #2 in the 1920s, has long provided the distinctive sight of stacked salt on the edge of the former wetlands. In the current day, an annual harvest of around 500,000 tons is added to the twin mounds of salt that are 500 feet long and 75 feet high. It is a striking landmark.
In 2010, after several years of discussion, I was able to secure Cargill’s permission for five sessions to photograph their property under supervision. This session involved a trip out to a recently harvested crystallizer bed, where laser-guided levelling equipment was preparing the bed for the next round of brine and salt precipitation. The crystallizer beds have a floor of unharvested salt that separated the brine from bay mud below and provides a structural surface for the balloon-tired dump trucks using in hauling the harvest to the washhouse. Some of the images in this set show the activity of bed levelling while others convey my intoxication with the colors and textures of the place.
I took these documentary photographs with the permission and supervision of Cargill. Kite flying is prohibited over Cargill-controlled lands without their permission.
DB Schenker Class 60 no. 60079 on 6M57 07.15 Lindsey - Kingsbury loaded fuel oil tanks.
31st August 2012
Freightliner Class 86 Bo-Bos 86622 (grey) and 86614 approach Tamworth with 4L92 14.03 Ditton -Felixstowe.
17th August 2010
The "lemon" on it's way to Kalgoorlie, known by this nickname by the locals due to it's reliability or lack thereof.
RD10147. The view from the front of a DMU as it approaches the Gorsey Bank / Water Lane level crossing on the Ecclesbourne Valley Railway in Derbyshire.
Saturday, 20th September, 2014. Copyright © Ron Fisher.
Long Moor Drove on the Somerset Levels between the Poldens and the Mendips.
Something different with fill flash provided by a second hand Speedlight SB600 off the bay that is usually deployed for baby pics.
A self indulgent reminds-me-of-childhood shot, but still part of an occasional Somerset series. The levels are lunar industrial landscape pretending to be countryside and I want to bring that out. A couple of farmers stopped in their Land Rover to tell me about a couple of deer they'd spotted, assuming I'd love to stalk them Nikon style, and probably to check I wasn't a wrong 'un. Not sure they'd understand about me taking snaps of bridges and endless sky.
No graphics, proper job boy.