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Spc. Kingkeo Simlamany from USAREUR's 172nd Infantry Brigade Combat Team places landmarks on maps his unit will use during scenarios at Saber Guardian 2013, a U.S. European Command Black Sea regional exercise planned and executed by the Romanian Land Forces and USAREUR. This is the first time Romania, Bulgaria, Armenia, Azerbaijan, Republic of Georgia, Moldova and Ukraine have all come together to train and exercise their battle staff and command post procedures in one location. Serbian and Polish Land Forces are also participating, to enhance their relationships with these Black Sea countries. There are more than 150 training audience members, support staff and contractors supporting the training at the Romanian Land Forces Combat Training Center in Cincu, Romania. (Photo by Richard Bumgardner)
Mapping invisible / Mendiak
The memory of what has been real, it’s already a proof of the absence, the
landscapes where the other one is missing... it has been for real? Only the
lines, strokes, stains, the gesture, the partial, the oblivion… The memory
beyond the landscape, recreated inside the interior arquitecture, broken,
incomplete, as the geography of the contemporary identity.
“When the peaks of our sky come together. My house will have a roof.” - Paul Eluard
mapping the customer journey of an IT buyer / executive deciding to use Citrix Workspace Cloud services.
Participants at the World Economic Forum on Africa in Abuja, Nigeria 2014. Copyright by World Economic Forum / Benedikt von Loebell
Participants at the World Economic Forum on Africa in Abuja, Nigeria 2014. Copyright by World Economic Forum / Benedikt von Loebell
Conrad Kufta and John Heiss, Surgical Neurology Branch, National Institute of Neurological Disorders and Stroke. Heiss and Kufta work on mapping the brain
Participants at the World Economic Forum on the Middle East and North Africa 2015 in Jordan. Copyright by World Economic Forum / Faruk Pinjo
Participants at the World Economic Forum on the Middle East and North Africa 2015 in Jordan. Copyright by World Economic Forum / Faruk Pinjo
Mapping workshop in Wambio, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
A screengrab used to illustrate a piece I have just written about mapping vintage photographs - see www.whatsthatpicture.com/vintage-photos/mapping-vintage-p...
See this map live - www.flickr.com/photos/nlireland/map/
The map lets you see which regions are being effected on a larger scale. The app will be the region’s fist interactive mobile in the area of disaster risk management, drawing on data and information from the National Crisis Management Centre —UNDP’s partner in the Disaster and Climate Risk Reduction project for 2011–2013.
Learn more about the app and check out the blog
For all of you photography, map, geography, city geeks (just like me) out there, you must read this article on photography and city landmarks out of Cornell University.
Mapping workshop in Nyangania, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Maris Pacific, by Abraham Ortelius 1589, shows more information about the Pacific including the Carolines and the Palaos (Palau).
Wikimedia Commons (commons.wikimedia.org/wiki/File:Ortelius_-_Maris_Pacifici...)
Participants at the World Economic Forum on Africa in Abuja, Nigeria 2014. Copyright by World Economic Forum / Benedikt von Loebell
Students practice taking photos for a GIS community mapping during a USAID-funded project outside of Cap Haitien, Haiti, on May 14, 2013. Photo copyright Kendra Helmer/USAID
Nestled along the clear waters of Rock Creek, Millpond’s lush forest gives way to spacious grassy areas, great for day-use and running the kids and dogs. A children's play area, a large ball-field, interpretive panels, swimming areas, and a large reservable pavilion are all available at Millpond. There is a short nature trail on the west end of the campground and the mile-long Sawmill Trail to the east. Rock Creek is closed to all angling however it’s a great place to see migrating and spawning salmon and steelhead.
Know Before You Go:
•All 12 campsites (except site #1), restrooms, water spigots, trails, and the pavilion are wheelchair accessible.
•To reserve the pavilion, visit www.recreation.gov or by calling 1-877-444-6777. There is a 250
person group size limit for the pavilion.
•Pets are allowed in the campground, but must be kept on a 6-foot or shorter leash.
•Typically open mid-May through late-September.
Directions:
Travel 22 miles east of Roseburg (1-mile east of Idleyld Park) on Highway 138, turn left on Rock Creek Road and travel five miles. Millpond is on the right.
Point of Interest:
For a family-friendly destination, the nearby Rock Creek Fish Hatchery allows visitors to view salmon and steelhead and an opportunity to feed trout!
Contact: BLM Roseburg District, 777 NW Garden Valley Blvd, Roseburg, OR 97471 or 541-440-4930. www.blm.gov/visit
Heather Smith Jones
Anna Copron
Sean Auyeung
Edibeth Farrington
Susan Schwake
and
Stephanie Levy
at artstream studios gallery
November 2, 2007 - January 2, 2008
mapping the customer journey of an IT buyer / executive deciding to use Citrix Workspace Cloud services.
These two maps were redrawn from an article published 1997 in the journal Nature, by our colleagues Cesare Cislaghi and Pier Luigi Nimis. Using the example of the famous Veneto region in northern Italy, they depict how lichen diversity and lung cancer mortality in young men are correlated. Not that low lichen diversity causes lung cancer, but both are connected to air pollution caused by particles and gases such as sulphur oxides, nitrogen oxides, carbon monoxide, methane, heavy metals, and free radicals. The principal sources for these pollutants are vehicle traffic, factories, power plants, and waste incinerators. Lichens are extremely sensitive to air pollution and serve as biological indicators, a fact already discovered around 1860.
Since the late 1950s, lichens have been used to "map" air pollution, and very sophisticated protocols were developed for this purpose in North America and Europe. Lichen mapping is a frequent and widespread technique, and the results from these and other studies on pollution and its effects on human health led to the introduction of filters for industrial compounds, the automotive catalyst, and unleaded gasoline. Continued studies demonstrate that measures to reduce air pollution have led to substantial recovery of lichen communities in urban areas. Unfortunately, the situation is still unsatisfactory in developing countries, where massive vehicular traffic using old cars, buses and trucks, and industrial sources maintain high levels of air pollution. Our L-team is involved in several projects performing lichen mapping in urban areas in Guatemala, Costa Rica, Colombia, Bolivia, and Brazil, to help providing data that hopefully lead to better air quality in these regions.
(c) The Field Museum, Robert Lucking
Participants at the World Economic Forum on the Middle East and North Africa 2015 in Jordan. Copyright by World Economic Forum / Faruk Pinjo
The NOAA National Severe Storms Laboratory installed a full network of Lightning Mapping Array (LMA) sensors on portable, solar-powered platforms to study lightning in targeted areas. Just like the Oklahoma Lightning Mapping Array (OKLMA) jointly operated by NSSL with the University of Oklahoma, the portable array will be used to map the time and location of lightning channel segments within clouds in three dimensions with high resolution. To do this, the system measures the time at which a signal radiated by a lightning channel in a very high frequency (VHF) band (the television channel 3 band) arrives at each station in the network. The times are transmitted to a central server, which computes the time, latitude, longitude, and height of the segment that radiated the signal.
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
---------------
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
---------------
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.
Livermore researchers calculated the most favorable binding arrangements and locations for several key proteins during acetaminophen metabolism to help determine which reactions produce which by-products. Free-energy mapping (right) and binding calculations (insets) show that the protein CYP2E1 prefers site 1, a configuration and binding location leading to N-acetyl-p-benzoquinone imine (NAPQI), a by-product of acetaminophen that can cause liver damage. Site 2, another possibility, would produce a nontoxic by-product; however, it has a higher free-energy value, so a reaction is much less likely.
The Rogue River is located in southwestern Oregon and flows 215 miles from Crater Lake to the Pacific Ocean. The 84 mile, Congressionally designated "National Wild and Scenic" portion of the Rogue begins 7 miles west of Grants Pass and ends 11 miles east of Gold Beach.
The Rogue was one of the original eight rivers included in the Wild and Scenic Rivers Act of 1968. The Rogue National Wild and Scenic River is surrounded by forested mountains and rugged boulder and rock-lined banks.
Steelhead and salmon fishery, challenging whitewater, and extraordinary wildlife viewing opportunities have made the Rogue a national treasure. Black bear, river otter, black-tail deer, bald eagles, osprey, Chinook salmon, great blue heron, water ouzel, and Canada geese are common wildlife seen along the Rogue River. Popular activities include: whitewater rafting, fishing, jet boat tours, scenic driving, hiking, picnicking, and sunbathing.
The visitor center is on the river near the town of Galice and is approximately 20 miles from I-5 on the Merlin-Galice Road. The center is called the Smullin Visitor Center and is located at the Rand National Historic Site.
Address
14335 Galice Road
Merlin, Oregon 97532
541-479-3735
BLM_OR_MD_Rogue_River_Mail@blm.gov
Hours of Operation
May 5th through October 15th
7:00 am to 3:00 pm - seven days a week
Phone Access Hours - 8:00 am to 3:00 pm
www.blm.gov/programs/national-conservation-lands/oregon-w...
Photo: Michael Campbell, BLM
Mapping Wikipedia - English World
www.tracemedia.co.uk/mapping_wikipedia_timeline/
**** THIS IS NOW OBSOLETE FUNCTIONALITY ****
screen 3 response to a nominated place (Durango, Colorado, USA).
ENTER name required in field in top right hand corner, if more than one (as in this case), choose and press Go.
Since the new Flickr Justified view layout, only examples 2 and 3 still apply..
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Preparations for the trip up to Preston. As it turned out, the weather prediction was accurate and the bunkers were where they ought to be. We didn't have time to visit the hospital and the standby set house (marked substation on the map) has been demolished and replaced by a Plymouth Brethren Church.