A smectic liquid crystal forms a thin film, like a soap bubble. Here, we have such a film in an annular holder about 1 cm across. The variation in color comes from thickness variations. A voltage is applied between the inner and outer edge. At the same time, the inner electrode is rotated to produce a shear flow. The convection eventually produces 3 localized vortices (which rotate in the same sense as the inner electrode) and 3 large return flows.

 

Movie by Peter Kruse and TIng Wang. Video by Stephen Morris.

See www.physics.utoronto.ca/nonlinear/papers_smectic.html

 

So I shot the Bubble Nebula in true-color [last year](lemmy.world/post/3533180), but I decided to shoot it again this past month in false color. It really helps to show the extended nebulosity, and gives me and excuse to [compare my image to Hubble's](i.imgur.com/UU9ZqAm.png). This false color image uses the SHO palette, where the sulfur-ii wavelength is mapped to red, hydrogen-alpha to green, and oxygen-iii is blue. I'm really happy with how the colors turned out on this one. There's also a number of [other nebulae and a star cluster in frame](i.imgur.com/V9G0MXo.jpg). Captured over 14 nights in Jan/Feb 2024 from a bortle 9 zone (I could only get a couple hours max per night on it.

 

---

 

**[Equipment:](i.imgur.com/ejpKkwU.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-290mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 37 hours 36 minutes (Camera at -15°C), Camera at unity gain.

 

* Ha - 95x360"

 

* Oiii - 140x360"

 

* Sii - 141x360"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight Preprocessing:**

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration per channel

 

* DrizzleIntegration (2x, Var β=1.5)

 

* Dynamic Crop

 

* DynamicBackgroundExtraction

 

> duplicated each image and removed stars via StarXterminator. Ran DBE with a shitload of points to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)

 

> $T * med(model) / model

 

**Narrowband Linear:**

 

* Blur and NoiseXTerminator

 

* Duplicated the images before stretching to be used for separate stars-only processing

 

* Slight stretch using HistogramTransformation

 

* iHDR 2.0 script to stretch each channel the rest of the way.

 

> This is a great [new pixinsight script](i.imgur.com/xjG6EqR.png) from Sketch on the discord. [here's the link to the repo](astrouri.com/pixinsight/scripts/iHDR/) if you want to add it to your own PI install.

 

**Stars Only Processing:**

 

* PixelMath to combine star images (SHO palette)

 

* SpectroPhotometricColorCalibration (narrowband working mode)

 

* StarXTerminator to make stars only image form each channel

 

* SCNR > invert > SCNR > invert to remove greens and magentas

 

* ArcsinhStretch + HT to stretch nonlinear - to be combined later with starless pic

 

**Nonlinear:**

 

* PixelMath to combine stretched Ha, Oiii, and Sii images into color image (SHO palette)

 

* StarXterminator to remove stars

 

* HistogramTransformations to tone back the greens and apply a more aggressive stretch to red and blue channels

 

* Shitloads of Curve Transformations to adjust lightness, hues, contrast, saturation, etc

 

* LRGBCombination with stretched Ha as luminance

 

* DeepSNR

 

* more curves

 

* ColorSaturation to bring up the blues in the bubble

 

* LocalHistogramEqualization

 

* even more curves

 

* MLT for chrominance noise reduction

 

* Pixelmath to add in the stretched stars only image from earlier

 

> This basically re-linearizes the two images, adds them together, and then stretches them back to before

 

> (Jimmy is a processing wizard when it comes to writing up this [independent starless processing stuff](www.nightphotons.com/guides/star-addition))

 

> mtf(.005,

 

> mtf(.995,Stars)+

 

> mtf(.995,Starless))

 

* A round of NoiseXterminator for good measure

 

* Resample to 60%

 

* Annotation

It actually looks like it's namesake!

 

This is a combo of SHO hubble palette + true color RGB for the stars. Captured in October 2025 from a Bortle 9 zone.

 

**Places where I host my other images:**

 

[Flickr](www.flickr.com/people/leftysastrophotography/) | [Pixelfed](pixelfed.art/lefty)

---

 

**[Equipment:](i.imgur.com/kDRYMKi.jpeg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-290mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 7 hours 21 minutes (Camera at -15°C), half unity gain

 

* Ha - 63x600"

 

* Oiii - 122x600"

 

* Sii - 102x600"

 

* R - 63x60"

 

* G - 63x60"

 

* B - 63x60"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu/) and PHD2 for guiding and dithering.

 

**PixInsight Preprocessing:**

 

* BatchPreProcessing

 

* StarAlignment

 

* Blink

 

* ImageIntegration per channel

 

* DrizzleIntegration (2x, Var β=1.5)

 

* Dynamic Crop

 

**Narrowband linear:**

 

* MultiscaleGradientCorrection using MARS project data (had to do good ol fashioned DBE for the Sii channel)

 

* BlurXterminator

 

* StarXterminator to completely remove stars

 

* STF applied via HistogramTransformation to stretch nonlinear

 

**RGB Linear:**

 

Channelcombination to make color image from RGB stacks

 

* MultiscaleGradientCorrection ([this is some seriously impressive shit!](i.imgur.com/KJpwU4d.png))

 

* SpectrophotometricColorCalibration

 

* BlurX (correct only mode)

 

* HSV Repair

 

* StarX to extract a stars only image

 

* ArcsinhStretch + HistogramTransformation to stretch nonlinear

 

* Slight curves saturation boost

 

**Nonlinear processing:**

 

* Pixelmath to combine stretched narrowband images into color image (SHO/Hubble palette)

 

* SCNR > Invert > SCNR > Invert to remove some greens and magentas

 

* DeepSNR

 

* Shitloads of curve transformations to adjust luminance, contrast, saturation, etc

 

* HistogramTransformation to further stretch the red channel a little

 

* more curves

 

* NoiseX for some small scale chrominance noise reduction

 

* Pixelmath to add in the stretched RGB stars only image from earlier

 

> This basically re-linearizes the two images, adds them together, and then stretches them back to before. [More info on it here](www.nightphotons.com/guides/star-addition))

 

> mtf(.005,

 

> mtf(.995,Stars)+

 

> mtf(.995,Starless))

 

* Slight SCNR

 

* Resample to 65%

 

* Annotation

I'd consider this an improvement over my last go at M27 The old image is true color, the new one is false color). It took a bit of trial and error but I finally settled on a pleasing way to combine a the bright core of this nebula with the faint outer shell. Captured on August 8th and 9th, 2020 from a Bortle 6 zone.

 

---

 

**[Equipment:](i.imgur.com/6T8QNsv.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120MC for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 5 hours 10 minutes (Camera at Unity Gain, -15°C)

 

* Ha- 31x300"

 

* Oiii- 31x300"

 

* Darks- 30

 

* Flats- 30 per filter

  

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu/) and PHD2 for guiding and dithering.

 

**PixInsight Processing:**

 

**Linear:**

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration

 

* DrizzleIntegration (2x, VarK=1.5)

 

* DynamicCrop

 

* DynamicBackgroundExtraction

 

* Deconvolution

 

* [EZ Denoise](darkarchon.internet-box.ch:8443/)

 

* Duplicated Ha and Oiii channels for **Core Stretch**

 

**Core Stretch:**

 

* ArcsinhStretch with highlights preserved per channel

 

* Pixelmath to combine channels (formula courtesy of /u/foraxx)

 

> Factor f= (Ha*Oiii)^~(Ha*Oiii)

 

> R= Ha

 

> G= f\*Ha + ~f*Oiii

 

> B= Oiii

 

* EZ HDR

 

**Aggressive Stretch:**

 

* EZ Soft Stretch

 

* Pixelmath to combine channels

 

> Same formula as above

 

**Nonlinear Processing:**

 

* Pixelmath to combine soft stretch and core stretch images

 

> 0.5\*Soft + 0.5*Core

 

* EZ HDR

 

* Shitloads of [Curve](i.imgur.com/2rkBRUO.jpg)Transformations to adjust lightness, hue, saturation, contract, etc. (with various masks to affect/protect different parts of the image)

 

* Extract L > LRGBCombination for chrominance noise reduction

 

* ACDNR

 

* PhotometricColorCalibration (some attempt at fixing star colors)

 

* Invert > SCNR > Invert

 

* LocalHistogramEqualization

 

* MorphologicalTransformation to reduce star sizes (starnet mask)

 

* MultiscaleLinearTransform

 

* Resample to 90%

 

* Annotation

 

NGC 4490 is a galaxy colliding with the smaller NGC 4485 galaxy, and both are about 25 million light years away. This image was taken with a monochrome camera through filters for luminance (all visible light), red, green, blue, and Hydrogen-alpha (656nm), which were combined into a color image. The Hydrogen-alpha was combined with red (described below) to make the HaLRGB image. The pink Ha regions are star forming nebulae within the galaxies. This got cropped out of the final pic, but I ended getting [some gorgeous diffraction spikes on this star](i.imgur.com/Ci1tzzd.jpeg) near the edge of the full FOV

 

---

 

**[Equipment:](i.imgur.com/kDRYMKi.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120MC for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 27 hours 37 minutes (Camera at half Unity Gain, -15°C)

 

* Ha - 128x360"

 

* Lum - 464x60"

 

* Red - 152x60"

 

* Green - 150x60"

 

* Blue - 123x60"

 

* Flats- 30 per filter

 

* 24 JimmyFlats per broadband filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu)

 

**PixInsight Processing:**

 

* BatchPreProcessing (with premade JimmyFlats)

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration

 

* DrizzleIntegration (2x, Var β=1.5)

 

* DynamicCrop

 

* DynamicBackgroundExtraction

 

> duplicated each image and removed stars via StarXterminator. Ran DBE to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)

 

> $T * med(model) / model

 

**Luminance:**

 

* BlurXTerminator

 

* ArcsinhStretch + histogramtransformation to bring nonlinear

  

**RGB:**

 

* ChannelCombinaiton to combine monochrome R, G, B stacks into color image

 

* SpectroPhotometricColorCalibration

 

* BlurXTerminator (correct only mode)

 

* HSV Repair

 

**making clean Ha**

 

> loosely following [this guide](www.arciereceleste.it/tutorial-pixinsight/cat-tutorial-en...)

 

> This basically [subtracts any broadband signal from the Ha pic, leaving only the Ha emission](i.imgur.com/ZOLbRwK.png), which is then combined in with the red and a little bit of the blue channels

 

* PixelMath to isolate just Ha

 

> Ha-Q * (Red-med (Red)), Q=0.75

 

* PixelMath to add Ha into RGB image

 

> Red = $T+B*(Ha_Clean - med(Ha_Clean))

 

> Green = $T

 

> Blue = $T+B*0.2*(Ha_Clean - med(Ha_Clean))

 

> B variable = 0.6 (this controls how strongly the Ha is added)

 

**Nonlinear**

 

* ArcsinhStretch + histogramtransformation to bring HaRGB image nonlinear

 

* MLT for large scale chrominance noise reduction

 

* shitloads of curve transformations to adjust lightness, contrast, saturation, etc (with various luminance and star masks)

 

* slight SCNR to remove some greens

 

* LRGBCombination with stretched Luminance

 

* DeepSNR

 

* more curves

 

* ColorSaturation to slightly desaturate the Ha regions (they were *very* pink compared to the rest of the galaxy

 

* slight noisexterminator

 

* LocalHistogramEqualization

 

* even more curves

 

* Resample to 75%

 

* DynamicCrop onto just the galaxy

 

* annotation

  

NGC 5634 is a globular cluster about 80k lightyears away from us. [It's pretty small compared to other globs like M13](i.imgur.com/fLxfPUP.png). I only spent an hour on this while waiting for other targets to come up the last time I was at a dark site. Captured on June 7th, 2024 from a Bortle 3 zone (Deerlick Astronomy Village)

 

---

 

**[Equipment:](i.imgur.com/6ZatSrZ.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120MC for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 1hour 3 minutes (Camera at half Unity Gain, -15°C)

 

* Lum - 24x90"

 

* Red - 6x90"

 

* Green - 6x90"

 

* Blue - 6x90"

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu)

 

**PixInsight Processing:**

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration

 

* DrizzleIntegration (2x, Var β=1.5)

 

* DynamicCrop

 

* DynamicBackgroundExtraction

 

> duplicated each image and removed stars via StarXterminator. Ran DBE with a shitload of points to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)

 

> $T * med(model) / model

 

**Luminance:**

 

* BlurXTerminator (correct only mode)

 

* ArcsinhStretch + histogramtransformation to bring nonlinear

 

**RGB:**

 

* ChannelCombinaiton to combine monochrome R, G, B stacks into color image

 

* BlurXTerminator (correct only mode)

 

* SpectroPhotometricColorCalibration

 

* HSV Repair

  

* ArcsinhStretch + histogramtransformation to bring nonlinear

 

* Curves to saturate it a little

 

**Nonlinear:**

 

* LRGBCombination with stretched L as luminance

 

* DeepSNR Noise reduction

 

* Invert > SCNR > invert > SCNR to remove some greens and magentas

 

* Several CurveTransformations to adjust lightness, contrast, colors, saturation, etc.

 

* HistogramTransformations

 

* More curves

 

* DynamicCrop in on the clustert

 

* Resample to 80%

 

* Annotation

 

x

CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

 

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

   

Cinema Documenta FILE São Paulo 2008

 

Antonello Matarazzo – Interferenze – Itália / Italy

Bruno Natal - Dub Echoes – Brasil / Brazil

Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil

Kevin Logan – Recitation – Londres / London

Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil

Linda Hilfing Nielsen - Participation 0.0 – Dinamarca

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany

Matthew Bate - What The Future Sounded Like – Austrália

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA

 

Mídia Arte FILE São Paulo 2008

 

[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA

Agricola de Cologne - One Day on Mars – Alemanha / Germany

alan bigelow - "When I Was President" – EUA / USA

Alessandra Ribeiro Parente Paes

Daniel Fernandes Gamez

Glauber Kotaki Rodrigues

Igor Albuquerque Bertolino

Karina Yuko Haneda

Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil

Alessandro Capozzo – Talea – Itália / Italy

Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon

Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil

Alexandre Cardoso Rodrigues Nunes

Bruno Coimbra Franco

Diego Filipe Braga R. Nascimento

Fábio Rinaldi Batistine

Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil

ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil

Andreas Zingerle - Extension of Human sight – Áustria

Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil

Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil

Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland

calin man – appendXship / Romênia

Carlindo da Conceição Barbosa

Kauê de Oliveira Souza

Guilherme Tetsuo Takei

Renato Michalischen

Ricardo Rodrigues Martins

Tassia Deusdara Manso

Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil

Christoph Korn – waldstueck – Alemanha / Germany

Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil

Duda. – do pixel ao pixel – Brasil / Brazil

Daniel Kobayashi

Felipe Crivelli Ayub

Fernando Boschetti

Luiz Felipe M. Coelho

Marcelo Knelsen

Mauro Falavigna

Rafael de A. Campos

Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil

David Clark - 88 Constellations for Wittgenstein – Canadá

Thais Paola Galvez

Josias Silva

Diego Abrahão Modesto

Nilson Benis

Vinicius Augusto Naka de Vasconcelos

Wilson Ruano Junior

Marcela Moreira da Silva – Rogério caos – Brasil / Brazil

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil

Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil

Fernando Aquino – UAI Justiça – Brasil / Brazil

Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan

Yto Aranda – Cyber Birds Dance – Chile

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA

Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon

Josephine Anstey, Dave Pape - Office Diva – EUA / USA

Josh Fishburn – Layers – Waiting – EUA / USA

Karla Brunet – Peculiaris – Brasil / Brazil

Kevin Evensen - Veils of Light – EUA / USA

lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy

linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark

Lisa Link - If I Worked for 493 years – EUA / USA

Marcelo Padre – Estro – Brasil / Brazil

Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil

Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil

Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon

Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon

Nurit Bar-Shai - Nothing Happens – EUA / USA

projectsinge: Blanquet Jerome - Monkey_Party – França / France

QUBO GAS - WATERCOULEUR PARK – França / France

rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil

Rafael Rozendaal - future physics – Netherlands

Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil

Roni Ribeiro – Bípedes – Brasil / Brazil

Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil

Rui Filipe Antunes – xTNZ – Brasil / Brazil

Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil

Tanja Vujinovic - "Without Title" – Switzerland

 

Hipersônica Screening – FILE São Paulo 2008

 

1mpar – hol – Brasil / Brazil

Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France

Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany

Bernhard Loibner – Meltdown – Áustria

Bjørn Erik Haugen – Regress - Norway

Celia Eid e Sébastien Béranger – Gymel – França / France

Studio Brutus/Citrullo International - H2O – Itália / Italy

Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil

David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon

Dennis Summers - Phase Shift Vídeos – EUA / USA

Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel

Fernando Velázquez – Nómada – Brasil / Brazil

Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil

Frederico Pessoa - butterbox – diving - Brasil / Brazil

Jay Needham - Narrative Half-life – EUA / USA

Soundsthatmatter – trotting – briji – Brasil / Brazil

x

My last go at this nebula was [back in late 2019](live.staticflickr.com/65535/49361695961_a03f6d1cd7_o.png), and I think I've gotten a little better since then (equipment is the same across both photos). The nebula in this pic is false color (SHO/Hubble palette), but the stars are true color RGB. Captured over a bunch of nights from January-April 2025, from a bortle 9 zone.

 

---

 

**[Equipment:](i.imgur.com/kDRYMKi.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-290mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 70 hours 5 minutes (Camera at -15°C), unity gain

 

* Ha - 123x600"

 

* Oiii - 147x600"

 

* Sii - 135x600"

 

* R - 53x60"

 

* G - 51x60"

 

* B - 51x60"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu/) and PHD2 for guiding and dithering.

 

**PixInsight Preprocessing:**

 

* BatchPreProcessing

 

* StarAlignment

 

* Blink

 

* ImageIntegration per channel

 

* DrizzleIntegration (2x, Var β=1.5)

 

* Dynamic Crop

 

* DynamicBackgroundExtraction

 

> duplicated each image and removed stars via StarXterminator. Ran DBE with a shitload of points to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)

 

> $T * med(model) / model

 

**Narrowband Linear:**

 

* Blur and NoiseXTerminator

 

* StarXterminator to completely remove stars from each the image

 

* HistogramTransformation to stretch Ha and Sii images to nonlinear

 

**Broadband/RGB linear:**

 

* ChannelCombination to make color image from R G and B stacks

 

* SpectrophotometricColorCalibration

 

* HSV repair to fix blown out star cores

 

* StarX (correct only)

 

* StarX to make a stars only image

 

* ArcsinhStretch + Histogramtransformation to stretch nonlinear (Calling this the *Stars* image now)

 

* SCNR > Invert > SCNR (50%) > Invert to remove greens and some magentas from stars

 

* Slight saturation boost

 

**Nonlinear:**

 

* ChannelCombination to combine stretched narrowband images into color image (SHO --> RGB)

  

* Shitloads of curve transformations to adjust lightness, contrast, saturation, color balance, etc

 

* LRGBCombination with stretched Ha as luminance

 

* ColorSaturation

 

* NoiseXterminator

 

* LocalHistogramEqualization

 

* Clone stamp to remove a couple highly saturated star spots that starx didn't remove (they looked incredibly out of place)

 

* Pixelmath to add in the stretched RGB *Stars* image from earlier

 

> This basically re-linearizes the two images, adds them together, and then stretches them back to before. [More info on it here](www.nightphotons.com/guides/star-addition))

 

> mtf(.005,

 

> mtf(.995,Stars)+

 

> mtf(.995,Starless))

 

* DynamicCrop again

 

* Resample to 60%

 

* Annotation

sphere liquid waves

Stationary wave

The Jallianwala Bagh massacre, also known as the Amritsar massacre, took place on 13 April 1919 when troops of the British Indian Army under the command of Colonel Reginald Dyer fired rifles into a crowd of Indians, who had gathered in Jallianwala Bagh, Amritsar, Punjab. The civilians had assembled for a peaceful protest to condemn the arrest and deportation of two national leaders, Satya Pal and Saifuddin Kitchlew. Raja Ram has argued however, that the Proclamation was ineffective, the crowd formed in deliberate defiance and the event signals a beginning of Indian nationalism.

 

The Jallianwalla Bagh is a public garden of 6 to 7 acres (2.8 ha), walled on all sides, with five entrances.

 

On Sunday, 13 April 1919, Dyer was convinced of a major insurrection and he banned all meetings; however this notice was not widely disseminated. That was the day of Baisakhi, the main Sikh festival, and many villagers had gathered in the Bagh. On hearing that a meeting had assembled at Jallianwala Bagh, Dyer went with Sikh, Gurkha, Baluchi, Rajput troops from 2-9th Gurkhas, the 54th Sikhs and the 59th Sind Rifles they entered the garden, blocking the main entrance after them, took up position on a raised bank, and on Dyer's orders fired on the crowd for about ten minutes, directing their bullets largely towards the few open gates through which people were trying to flee, until the ammunition supply was almost exhausted. Dyer stated that approximately 1,650 rounds had been fired, a number apparently derived by counting empty cartridge cases picked up by the troops. Official British Indian sources gave a figure of 379 identified dead, with approximately 1,100 wounded. The casualty number estimated by the Indian National Congress was more than 1,500 injured, with approximately 1,000 dead. This "brutality stunned the entire nation", resulting in a "wrenching loss of faith" of the general public in the intentions of the UK. The ineffective inquiry and the initial accolades for Dyer by the House of Lords fuelled widespread anger, later leading to the Non-cooperation Movement of 1920–22.

 

Dyer was initially lauded by conservative forces in the empire, but in July 1920 he was censured and forced to retire by the House of Commons. He became a celebrated hero in the UK among most of the people connected to the British Raj, for example, the House of Lords, but unpopular in the House of Commons, which voted against Dyer as a Colonel. He was disciplined by being removed from his appointment, was passed over for promotion and was prohibited from further employment in India. Upon his death, Rudyard Kipling declared that Dyer 'did his duty as he saw it'. The massacre some historians have argued caused a re-evaluation of the army's role, in which the new policy became minimum force, however, later British actions during the Mau Mau insurgencies have led Huw Bennett to question this school of thought. The army was retrained and developed less violent tactics for crowd control. Some historians consider the episode a decisive step towards the end of British rule in India.

 

BACKGROUND

DEFENCE OF INDIA ACT

During World War I, British India contributed to the British war effort by providing men and resources. Millions of Indian soldiers and labourers served in Europe, Africa, and the Middle East, while both the Indian administration and the princes sent large supplies of food, money, and ammunition. However, Bengal and Punjab remained sources of anticolonial activities. Revolutionary attacks in Bengal, associated increasingly with disturbances in Punjab, were significant enough to nearly paralyse the regional administration. Of these, a pan-Indian mutiny in the British Indian Army planned for February 1915 was the most prominent amongst a number of plots formulated between 1914 and 1917 by Indian nationalists in India, the United States and Germany. The planned February mutiny was ultimately thwarted when British intelligence infiltrated the Ghadarite movement, arresting key figures. Mutinies in smaller units and garrisons within India were also crushed. In the scenario of the British war effort and the threat from the militant movement in India, the Defence of India Act 1915 was passed limiting civil and political liberties. Michael O'Dwyer, then the Lieutenant Governor of Punjab, was one of the strongest proponents of the act, in no small part due to the Ghadarite threat in the province.

 

ROWLATT ACT

The costs of the protracted war in money and manpower were great. High casualty rates in the war, increasing inflation after the end, compounded by heavy taxation, the deadly 1918 flu pandemic, and the disruption of trade during the war escalated human suffering in India. The pre-war Indian nationalist sentiment was revived as moderate and extremist groups of the Indian National Congress ended their differences to unify. In 1916, the Congress was successful in establishing the Lucknow Pact, a temporary alliance with the All-India Muslim League. British political concessions and Whitehall's India Policy after World War I began to change, with the passage of Montague–Chelmsford Reforms, which initiated the first round of political reform in the Indian subcontinent in 1917. However, this was deemed insufficient in reforms by the Indian political movement. Mahatma Gandhi, recently returned to India, began emerging as an increasingly charismatic leader under whose leadership civil disobedience movements grew rapidly as an expression of political unrest. The recently crushed Ghadar conspiracy, the presence of Mahendra Pratap's Kabul mission in Afghanistan (with possible links to then nascent Bolshevik Russia), and a still-active revolutionary movement especially in Punjab and Bengal (as well as worsening civil unrest throughout India) led to the appointment of a Sedition committee in 1918 chaired by Sidney Rowlatt, an English judge. It was tasked to evaluate German and Bolshevik links to the militant movement in India, especially in Punjab and Bengal. On the recommendations of the committee, the Rowlatt Act, an extension of the Defence of India Act 1915, was enforced in India to limit civil liberties.

 

The passage of the Rowlatt Act in 1919 precipitated large scale political unrest throughout India. Ominously, in 1919, the Third Anglo-Afghan War began in the wake of Amir Habibullah's assassination and institution of Amanullah in a system strongly influenced by the political figures courted by Kabul mission during the world war. As a reaction to Rowlatt act Muhammad Ali Jinnah resigned from his Bombay seat, writing to viceroy a letter, "I, therefor, as a protest against the passing of the Bill and the manner in which it was passed tender my resignation..................a government that passes or sanctions such a law in times of peace forfeits its claim to be called a civilized Government". In India Gandhi's call for protest against the Rowlatt Act achieved an unprecedented response of furious unrest and protests. The situation especially in Punjab was deteriorating rapidly, with disruptions of rail, telegraph and communication systems. The movement was at its peak before the end of the first week of April, with some recording that "practically the whole of Lahore was on the streets, the immense crowd that passed through Anarkali was estimated to be around 20,000." In Amritsar, over 5,000 people gathered at Jallianwala Bagh. This situation deteriorated perceptibly over the next few days. Michael O'Dwyer is said to have been of the firm belief that these were the early and ill-concealed signs of a conspiracy for a coordinated uprising around May, on the lines of the 1857 revolt, at a time when British troops would have withdrawn to the hills for the summer. The Amritsar massacre, as well as responses preceding and succeeding it, was the end result of a concerted plan of response from the Punjab administration to suppress such a conspiracy.

 

PRELUDE

Many officers in the Indian army believed revolt was possible, and they prepared for the worst. In Amritsar, over 5,000 people gathered at Jallianwala Bagh. The British Lieutenant-Governor of Punjab, Michael O'Dwyer, is said to have believed that these were the early and ill-concealed signs of a conspiracy for a coordinated revolt around May, at a time when British troops would have withdrawn to the hills for the summer. The Amritsar massacre, as well as responses preceding and succeeding it, have been described by some historians as the end result of a concerted plan of response from the Punjab administration to suppress such a conspiracy. James Houssemayne Du Boulay is said to have ascribed a direct relationship between the fear of a Ghadarite uprising in the midst of an increasingly tense situation in Punjab, and the British response that ended in the massacre.

 

On 10 April 1919, there was a protest at the residence of the Deputy Commissioner of Amritsar, a city in Punjab, a large province in the northwestern part of India. The demonstration was to demand the release of two popular leaders of the Indian Independence Movement, Satya Pal and Saifuddin Kitchlew, who had been earlier arrested by the government and moved to a secret location. Both were proponents of the Satyagraha movement led by Gandhi. A military picket shot at the crowd, killing several protesters and setting off a series of violent events. Later the same day, several banks and other government buildings, including the Town Hall and the railway station, were attacked and set on fire. The violence continued to escalate, culminating in the deaths of at least five Europeans, including government employees and civilians. There was retaliatory shooting at crowds from the military several times during the day, and between eight and twenty people were killed.

 

On 11 April, Marcella Sherwood, an English missionary, fearing for the safety of her pupils, was on her way to shut the schools and send the roughly 600 Indian children home. While cycling through a narrow street called the Kucha Kurrichhan, she was caught by a mob, pulled to the ground by her hair, stripped naked, beaten, kicked, and left for dead. She was rescued by some local Indians, including the father of one of her pupils, who hid her from the mob and then smuggled her to the safety of Gobindgarh fort. After visiting Sherwood on 19 April, the Raj's local commander, Colonel Dyer, issued an order requiring every Indian man using that street to crawl its length on his hands and knees. Colonel Dyer later explained to a British inspector: "Some Indians crawl face downwards in front of their gods. I wanted them to know that a British woman is as sacred as a Hindu god and therefore they have to crawl in front of her, too." He also authorised the indiscriminate, public whipping of locals who came within lathi length of British policemen. Marcella Sherwood later defended Colonel Dyer, describing him "as the 'saviour' of the Punjab".

 

For the next two days, the city of Amritsar was quiet, but violence continued in other parts of the Punjab. Railway lines were cut, telegraph posts destroyed, government buildings burnt, and three Europeans murdered. By 13 April, the British government had decided to put most of the Punjab under martial law. The legislation restricted a number of civil liberties, including freedom of assembly; gatherings of more than four people were banned.

 

On the evening of 12 April, the leaders of the hartal in Amritsar held a meeting at the Hindu College - Dhab Khatikan. At the meeting, Hans Raj, an aide to Kitchlew, announced a public protest meeting would be held at 16:30 the following day in the Jallianwala Bagh, to be organised by Muhammad Bashir and chaired by a senior and respected Congress Party leader, Lal Kanhyalal Bhatia. A series of resolutions protesting against the Rowlatt Act, the recent actions of the British authorities and the detention of Satyapal and Kitchlew was drawn up and approved, after which the meeting adjourned.

 

MASSACRE

At 9:00 on the morning of 13 April, the traditional festival of Baisakhi, Colonel Reginald Dyer, the acting military commander for Amritsar and its environs, proceeded through the city with several city officials, announcing the implementation of a pass system to enter or leave Amritsar, a curfew beginning at 20:00 that night and a ban on all processions and public meetings of four or more persons. The proclamation was read and explained in English, Urdu, Hindi and Punjabi, but few paid it any heed or appear to have learned of it later. Meanwhile, the local CID had received intelligence of the planned meeting in the Jallianwala Bagh through word of mouth and plainclothes detectives in the crowds. At 12:40, Dyer was informed of the meeting and returned to his base at around 13:30 to decide how to handle it.

 

By mid-afternoon, thousands of Sikhs, Muslims and Hindus had gathered in the Jallianwala Bagh (garden) near the Harmandir Sahib in Amritsar. Many who were present had earlier worshipped at the Golden Temple, and were passing through the Bagh on their way home. The Bagh was (and is) an open area of six to seven acres, roughly 200 yards by 200 yards in size, and surrounded by walls roughly 10 feet in height. Balconies of houses three to four stories tall overlooked the Bagh, and five narrow entrances opened onto it, several with locked gates. During the rainy season, it was planted with crops, but served as a local meeting-area and playground for much of the year. In the center of the Bagh was a samadhi (cremation site) and a large well partly filled with water which measured about 20 feet in diameter.

 

Apart from pilgrims, Amritsar had filled up over the preceding days with farmers, traders and merchants attending the annual Baisakhi horse and cattle fair. The city police closed the fair at 14:00 that afternoon, resulting in a large number of people drifting into the Jallianwala Bagh. Dyer sent an aeroplane to overfly the Bagh and estimate the size of the crowd, that he reported was about 6,000, while the Hunter Commission estimates a crowd of 10,000 to 20,000 had assembled by the time of Dyer's arrival. Colonel Dyer and Deputy Commissioner Irving, the senior civil authority for Amritsar, took no actions to prevent the crowd assembling, or to peacefully disperse the crowds. This would later be a serious criticism levelled at both Dyer and Irving.

 

An hour after the meeting began as scheduled at 16:30, Colonel Dyer arrived at the Bagh with a group of ninety Sikh, Gurkha, Baluchi (note that the Baluch Regiment of the British Indian Army did not have Baluch troops, the British having failed in their efforts to get the Baluch to enlist and serve; the Baluch continued to fight an insurgency of varying intensity with the British from 1839 to 1947. The Baluch regiment was staffed by troops from the Punjab and other areas of India), Rajput from 2-9th Gurkhas, the 54th Sikhs and the 59th Sind Rifles soldiers. Fifty of them were armed with .303 Lee–Enfield bolt-action rifles. It is not clear whether Dyer had specifically chosen troops from that ethnic group due to their proven loyalty to the British or that they were simply the Sikh and non-Sikh units most readily available. He had also brought two armored cars armed with machine guns; however, the vehicles were left outside, as they were unable to enter the Bagh through the narrow entrances. The Jallianwala Bagh was surrounded on all sides by houses and buildings and had few narrow entrances. Most of them were kept permanently locked. The main entrance was relatively wide, but was guarded heavily by the troops backed by the armoured vehicles.

 

Dye, without warning the crowd to disperse, blocked the main exits. He 'explained' later that this act "was not to disperse the meeting but to punish the Indians for disobedience." Dyer ordered his troops to begin shooting toward the densest sections of the crowd. Firing continued for approximately ten minutes. Cease-fire was ordered only when ammunition supplies were almost exhausted, after approximately 1,650 rounds were spent.

 

Many people died in stampedes at the narrow gates or by jumping into the solitary well on the compound to escape the shooting. A plaque, placed at the site after independence states that 120 bodies were removed from the well. The wounded could not be moved from where they had fallen, as a curfew was declared, and many more died during the night.

 

CASUALTIES

The number of casualties is disputed, with the Government of Punjab criticised by the Hunter Commission for not gathering accurate figures, and only offering an approximate figure of 200, and when interviewed by the members of the committee a senior civil servant in Punjab admitted that the actual figure could be higher. The Sewa Samiti society independently carried out an investigation and reported 379 deaths, and 192 seriously wounded, which the Hunter Commission would base their figures of 379 deaths, and approximately 3 times this injured, suggesting 1500 casualties. At the meeting of the Imperial Legislative Council held on 12 September 1919, the investigation led by Pandit Madan Mohan Malviya concluded that there were 42 boys among the dead, the youngest of them only 7 months old. The Hunter commission confirmed the deaths of 337 men, 41 boys and a six-week old baby.

 

In July 1919, three months after the massacre, officials were tasked with finding who had been killed by inviting inhabitants of the city to volunteer information about those who had died. This information was incomplete due to fear that those who participated would be identified as having been present at the meeting, and some of the dead may not have had close relations in the area.

 

Since the official figures were obviously flawed regarding the size of the crowd (6,000–20,000), the number of rounds fired and the period of shooting, the Indian National Congress instituted a separate inquiry of its own, with conclusions that differed considerably from the British Government's inquiry. The casualty number quoted by the Congress was more than 1,500, with approximately 1,000 being killed.

 

Indian nationalist, Swami Shraddhanand wrote to Gandhi of 1500 deaths in the incident.

 

The British Government tried to suppress information of the massacre, but news spread in India and widespread outrage ensued; details of the massacre did not become known in Britain until December 1919.

 

AFTERMATH

Colonel Dyer reported to his superiors that he had been "confronted by a revolutionary army", to which Major General William Beynon replied: "Your action correct and Lieutenant Governor approves." O'Dwyer requested that martial law should be imposed upon Amritsar and other areas, and this was granted by Viceroy Lord Chelmsford.

 

Both Secretary of State for War Winston Churchill and former Prime Minister H. H. Asquith however, openly condemned the attack, Churchill referring to it as "monstrous", while Asquith called it "one of the worst outrages in the whole of our history". Winston Churchill, in the House of Commons debate of 8 July 1920, said, "The crowd was unarmed, except with bludgeons. It was not attacking anybody or anything… When fire had been opened upon it to disperse it, it tried to run away. Pinned up in a narrow place considerably smaller than Trafalgar Square, with hardly any exits, and packed together so that one bullet would drive through three or four bodies, the people ran madly this way and the other. When the fire was directed upon the centre, they ran to the sides. The fire was then directed to the sides. Many threw themselves down on the ground, the fire was then directed down on the ground. This was continued to 8 to 10 minutes, and it stopped only when the ammunition had reached the point of exhaustion." After Churchill's speech in the House of Commons debate, MPs voted 247 to 37 against Dyer and in support of the Government. Cloake reports that despite the official rebuke, many Britons "thought him a hero for saving the rule of British law in India."

 

Rabindranath Tagore received the news of the massacre by 22 May 1919. He tried to arrange a protest meeting in Calcutta and finally decided to renounce his British knighthood as "a symbolic act of protest". In the repudiation letter, dated 30 May 1919 and addressed to the Viceroy, Lord Chelmsford, he wrote "I ... wish to stand, shorn, of all special distinctions, by the side of those of my countrymen who, for their so called insignificance, are liable to suffer degradation not fit for human beings."

 

Gupta describes the letter written by Tagore as "historic". He writes that Tagore "renounced his knighthood in protest against the inhuman cruelty of the British Government to the people of Punjab", and he quotes Tagore's letter to the Viceroy "The enormity of the measures taken by the Government in the Punjab for quelling some local disturbances has, with a rude shock, revealed to our minds the helplessness of our position as British subjects in India ... The very least that I can do for my country is to take all consequences upon myself in giving voice to the protest of the millions of my countrymen, surprised into a dumb anguish of terror. The time has come when badges of honour make our shame glaring in the incongruous context of humiliation..." English Writings of Rabindranath Tagore Miscellaneous Writings Vol# 8 carries a facsimile of this hand written letter.

 

HUNTER COMMISSION

On 14 October 1919, after orders issued by the Secretary of State for India, Edwin Montagu, the Government of India announced the formation of a committee of inquiry into the events in Punjab. Referred to as the Disorders Inquiry Committee, it was later more widely known as the Hunter Commission. It was named after the chairman, William, Lord Hunter, former Solicitor-General for Scotland and Senator of the College of Justice in Scotland. The stated purpose of the commission was to "investigate the recent disturbances in Bombay, Delhi and Punjab, about their causes, and the measures taken to cope with them". The members of the commission were:

 

Lord Hunter, Chairman of the Commission

Mr Justice George C. Rankin of Calcutta

Sir Chimanlal Harilal Setalvad, Vice-Chancellor of Bombay University and advocate of the Bombay High Court

W.F. Rice, member of the Home Department

Major-General Sir George Barrow, KCB, KCMG, GOC Peshawar Division

Pandit Jagat Narayan, lawyer and Member of the Legislative Council of the United Provinces

Thomas Smith, Member of the Legislative Council of the United Provinces

Sardar Sahibzada Sultan Ahmad Khan, lawyer from Gwalior State

H.C. Stokes, Secretary of the Commission and member of the Home Department

 

After meeting in New Delhi on 29 October, the Commission took statements from witnesses over the following weeks. Witnesses were called in Delhi, Ahmedabad, Bombay and Lahore. Although the Commission as such was not a formally constituted court of law, meaning witnesses were not subject to questioning under oath, its members managed to elicit detailed accounts and statements from witnesses by rigorous cross-questioning. In general, it was felt the Commission had been very thorough in its enquiries. After reaching Lahore in November, the Commission wound up its initial inquiries by examining the principal witnesses to the events in Amritsar.

 

On 19 November, Dyer was called to appear before the Commission. Although his military superiors had suggested he be represented by legal counsel at the inquiry, Dyer refused this suggestion and appeared alone. Initially questioned by Lord Hunter, Dyer stated he had come to know about the meeting at the Jallianwala Bagh at 12:40 hours that day but did not attempt to prevent it. He stated that he had gone to the Bagh with the deliberate intention of opening fire if he found a crowd assembled there. Patterson says Dyer explained his sense of honour to the Hunter Commission by saying, "I think it quite possible that I could have dispersed the crowd without firing but they would have come back again and laughed, and I would have made, what I consider, a fool of myself." Dyer further reiterated his belief that the crowd in the Bagh was one of "rebels who were trying to isolate my forces and cut me off from other supplies. Therefore, I considered it my duty to fire on them and to fire well".

 

After Mr. Justice Rankin had questioned Dyer, Sir Chimanlal Setalvad enquired:

 

Sir Chimanlal: Supposing the passage was sufficient to allow the armoured cars to go in, would you have opened fire with the machine guns?

 

Dyer: I think probably, yes.

 

Sir Chimanlal: In that case, the casualties would have been much higher?

 

Dyer: Yes.

 

Dyer further stated that his intentions had been to strike terror throughout the Punjab and in doing so, reduce the moral stature of the "rebels". He said he did not stop the shooting when the crowd began to disperse because he thought it was his duty to keep shooting until the crowd dispersed, and that a little shooting would not do any good. In fact he continued the shooting until the ammunition was almost exhausted. He stated that he did not make any effort to tend to the wounded after the shooting: "Certainly not. It was not my job. Hospitals were open and they could have gone there."

 

Exhausted from the rigorous cross-examination questioning and ill, Dyer was then released. Over the next several months, while the Commission wrote its final report, the British press, as well as many MPs, turned hostile towards Dyer as the extent of the massacre and his statements at the inquiry became widely known. Lord Chelmsford refused to comment until the Commission had been wound up. In the meanwhile, Dyer, seriously ill with jaundice and arteriosclerosis, was hospitalised.

 

Although the members of the Commission had been divided by racial tensions following Dyer's statement, and though the Indian members had written a separate, minority report, the final report, comprising six volumes of evidence and released on 8 March 1920, unanimously condemned Dyer's actions. In "continuing firing as long as he did, it appears to us that General Dyer committed a grave error." Dissenting members argued that the martial law regime's use of force was wholly unjustified. "General Dyer thought he had crushed the rebellion and Sir Michael O'Dwyer was of the same view", they wrote, "(but) there was no rebellion which required to be crushed." The report concluded that:

 

Lack of notice to disperse from the Bagh in the beginning was an error.

The length of firing showed a grave error.

Dyer's motive of producing a sufficient moral effect was to be condemned.

Dyer had overstepped the bounds of his authority.

There had been no conspiracy to overthrow British rule in the Punjab.

 

The minority report of the Indian members further added that:

 

Proclamations banning public meetings were insufficiently distributed.

Innocent people were in the crowd, and there had been no violence in the Bagh beforehand.

Dyer should have either ordered his troops to help the wounded or instructed the civil authorities to do so.

Dyer's actions had been "inhuman and un-British" and had greatly injured the image of British rule in India.

 

The Hunter Commission did not impose any penal or disciplinary action because Dyer's actions were condoned by various superiors (later upheld by the Army Council). The Legal and Home Members on the Viceroy's Council ultimately decided that, though Dyer had acted in a callous and brutal way, military or legal prosecution would not be possible due to political reasons. However, he was finally found guilty of a mistaken notion of duty and relieved of his command on 23 March. He had been recommended for a CBE as a result of his service in the Third Afghan War; this recommendation was cancelled on 29 March 1920.

 

DEMONSTRATION AT GUJRANWALA

Two days later, on 15 April, demonstrations occurred in Gujranwala protesting the killings at Amritsar. Police and aircraft were used against the demonstrators, resulting in 12 deaths and 27 injuries. The Officer Commanding the Royal Air Force in India, Brigadier General N D K MacEwen stated later that:

 

I think we can fairly claim to have been of great use in the late riots, particularly at Gujranwala, where the crowd when looking at its nastiest was absolutely dispersed by a machine using bombs and Lewis guns.

 

ASSASSINATION OF MICHAEL O`DWYER

On 13 March 1940, at Caxton Hall in London, Udham Singh, an Indian independence activist from Sunam who had witnessed the events in Amritsar and had himself been wounded, shot and killed Michael O'Dwyer, the Lieutenant-Governor of Punjab at the time of the massacre, who had approved Dyer's action and was believed to have been the main planner.

 

Reginald Dyer was disciplined by being removed from his appointment, was passed over for promotion and was prohibited from further employment in India. He died in 1927

 

Some, such as the nationalist newspaper Amrita Bazar Patrika, made statements supporting the killing. The common people and revolutionaries glorified the action of Udham Singh. Much of the press worldwide recalled the story of Jallianwala Bagh, and alleged O'Dwyer to have been responsible for the massacre. Singh was termed a "fighter for freedom" and his action was referred to in The Times newspaper as "an expression of the pent-up fury of the down-trodden Indian People". In Fascist countries, the incident was used for anti-British propaganda: Bergeret, published in large scale from Rome at that time, while commenting upon the Caxton Hall assassination, ascribed the greatest significance to the circumstance and praised the action of Udham Singh as courageous. The Berliner Börsen Zeitung termed the event "The torch of Indian freedom". German radio reportedly broadcast: "The cry of tormented people spoke with shots."

 

At a public meeting in Kanpur, a spokesman had stated that "at last an insult and humiliation of the nation had been avenged". Similar sentiments were expressed in numerous other places across the country. Fortnightly reports of the political situation in Bihar mentioned: "It is true that we had no love lost for Sir Michael. The indignities he heaped upon our countrymen in Punjab have not been forgotten." In its 18 March 1940 issue Amrita Bazar Patrika wrote: "O'Dwyer's name is connected with Punjab incidents which India will never forget." The New Statesman observed: "British conservativism has not discovered how to deal with Ireland after two centuries of rule. Similar comment may be made on British rule in India. Will the historians of the future have to record that it was not the Nazis but the British ruling class which destroyed the British Empire?" Singh had told the court at his trial:

 

I did it because I had a grudge against him. He deserved it. He was the real culprit. He wanted to crush the spirit of my people, so I have crushed him. For full 21 years, I have been trying to wreak vengeance. I am happy that I have done the job. I am not scared of death. I am dying for my country. I have seen my people starving in India under the British rule. I have protested against this, it was my duty. What a greater honour could be bestowed on me than death for the sake of my motherland?

 

Singh was hanged for the murder on 31 July 1940. At that time, many, including Jawaharlal Nehru and Mahatma Gandhi, condemned the murder as senseless even if it was courageous. In 1952, Nehru (by then Prime Minister) honoured Udham Singh with the following statement, which appeared in the daily Partap:

 

I salute Shaheed-i-Azam Udham Singh with reverence who had kissed the noose so that we may be free.

 

Soon after this recognition by the Prime Minister, Udham Singh received the title of Shaheed, a name given to someone who has attained martyrdom or done something heroic on behalf of their country or religion.

 

MONUMENT AND LEGACY

A trust was founded in 1920 to build a memorial at the site after a resolution was passed by the Indian National Congress. In 1923, the trust purchased land for the project. A memorial, designed by American architect Benjamin Polk, was built on the site and inaugurated by President of India Rajendra Prasad on 13 April 1961, in the presence of Jawaharlal Nehru and other leaders. A flame was later added to the site.

 

The bullet marks remain on the walls and adjoining buildings to this day. The well into which many people jumped and drowned attempting to save themselves from the bullets is also a protected monument inside the park.

Formation of the Shiromani Gurudwara Prabandhak Committee

 

Shortly following the massacre, the official Sikh clergy of the Harmandir Sahib (Golden Temple) in Amritsar conferred upon Colonel Dyer the Saropa (the mark of distinguished service to the Sikh faith or, in general, humanity), sending shock waves among the Sikh community. On 12 October 1920, students and faculty of the Amritsar Khalsa College called a meeting to demand the immediate removal of the Gurudwaras from the control of Mahants. The result was the formation of the Shiromani Gurudwara Prabhandak Committee on 15 November 1920 to manage and to implement reforms in Sikh shrines.

 

REGRET

Although Queen Elizabeth II had not made any comments on the incident during her state visits in 1961 and 1983, she spoke about the events at a state banquet in India on 13 October 1997:

 

It is no secret that there have been some difficult episodes in our past – Jallianwala Bagh, which I shall visit tomorrow, is a distressing example. But history cannot be rewritten, however much we might sometimes wish otherwise. It has its moments of sadness, as well as gladness. We must learn from the sadness and build on the gladness.

 

On 14 October 1997, Queen Elizabeth II visited Jallianwala Bagh and paid her respects with a 30‑second moment of silence. During the visit, she wore a dress of a colour described as pink apricot or saffron, which was of religious significance to the Sikhs. She removed her shoes while visiting the monument and laid a wreath at the monument.

 

While some Indians welcomed the expression of regret and sadness in the Queen's statement, others criticised it for being less than an apology. The then Prime Minister of India Inder Kumar Gujral defended the Queen, saying that the Queen herself had not even been born at the time of the events and should not be required to apologise.

 

CONTROVERSIES

The Queen's 1997 statement was not without controversies. During her visit, there were protests brewing in the city of Amritsar outside, people chanting slogans "Queen, go back." Queen Elizabeth and the Duke of Edinburgh merely signed on the visitor's book. The fact that they did not leave any comment, leave aside, even regretting the incident was criticized.

 

During the same visit, minutes after Queen Elizabeth and Prince Philip stood in silence at the Flame of Liberty, the Duke of Edinburgh and his guide, Partha Sarathi Mukherjee, reached[clarification needed] a plaque recording the events of the 1919 massacre. Among the many things found on the plaque was the assertion that 2,000 people were killed by Gen. Dyer's troops. (The precise text is: "This place is saturated with the blood of about two thousand Hindus, Sikhs and Muslims who were martyred in a non-violent struggle." It goes on to describe the events of that day.) "That's a bit exaggerated," Philip told Mukherjee, "it must include the wounded." Mukherjee asked Philip how he had come to this conclusion. "I was told about the killings by General Dyer's son," Mukherjee recalls the Duke as saying, "I'd met him while I was in the Navy." These statements by Philip drew widespread condemnation in India. Indian journalist Praveen Swami wrote in the Frontline magazine: "(The fact that)... this was the solitary comment Prince Philip had to offer after his visit to Jallianwala Bagh... (and that) it was the only aspect of the massacre that exercised his imagination, caused offence. It suggested that the death of 379 people was in some way inadequate to appall the royal conscience, in the way the death of 2,000 people would have. Perhaps more important of all, the staggering arrogance that Prince Philip displayed in citing his source of information on the tragedy made clear the lack of integrity in the wreath-laying."

 

DEMANDS FOR APOLOGY

There are long-standing demands in India that Britain should apologize for the massacre. Winston Churchill, on 8 July 1920, urged the House of Commons to punish Colonel Dyer. Churchill succeeded in persuading the House to forcibly retire Colonel Dyer, but Churchill would have preferred to have seen the colonel disciplined.

 

In February 2013 David Cameron became the first serving British Prime Minister to visit the site, laid a wreath at the memorial, and described the Amritsar massacre as "a deeply shameful event in British history, one that Winston Churchill rightly described at that time as monstrous. We must never forget what happened here and we must ensure that the UK stands up for the right of peaceful protests". Cameron did not deliver an official apology. This was criticized by some commentators. Writing in The Telegraph, Sankarshan Thakur wrote, "Over nearly a century now British protagonists have approached the 1919 massacre ground of Jallianwala Bagh thumbing the thesaurus for an appropriate word to pick. 'Sorry' has not been among them."

 

The issue of apology resurfaced during the 2016 India visit of Prince William and Kate Middleton when both decided to skip the memorial site from their itinerary. In 2017, Indian author and politician Shashi Tharoor suggested that the Jalianwala Bagh centenary in 2019 should be a "good time" for the British to apologise to the Indians for wrongs committed during the colonial rule. Visiting the memorial on 6 December 2017, London's mayor Sadiq Khan called on the British government to apologize for the massacre.

 

IN POPULAR CULTURE

1932: Noted Hindi poet Subhadra Kumari Chauhan wrote a poem, "Jallianwalla Bagh Mein Basant", (Spring in the Jallianwalla Bagh) in memory of the slain in her anthology Bikhre Moti (Scattered Pearls).

1977: The massacre is portrayed in the Hindi movie Jallian Wala Bagh starring Vinod Khanna, Parikshat Sahni, Shabana Azmi, Sampooran Singh Gulzar, and Deepti Naval. The film was written, produced and directed by Balraj Tah with the screenplay by Gulzar. The film is a part-biopic of Udham Singh (played by Parikshit Sahni) who assassinated Michael O'Dwyer in 1940. Portions of the film were shot in the UK notably in Coventry and surrounding areas.

1981: Salman Rushdie's novel Midnight's Children portrays the massacre from the perspective of a doctor in the crowd, saved from the gunfire by a well-timed sneeze.

1982: The massacre is depicted in Richard Attenborough's film Gandhi with the role of General Dyer played by Edward Fox. The film depicts most of the details of the massacre as well as the subsequent inquiry by the Montague commission.

1984: The story of the massacre also occurs in the 7th episode of Granada TV's 1984 series The Jewel in the Crown, recounted by the fictional widow of a British officer who is haunted by the inhumanity of it and who tells how she came to be reviled because she defied the honours to Dyer and instead donated money to the Indian victims.

2002: In the Hindi film The Legend of Bhagat Singh directed by Rajkumar Santoshi, the massacre is reconstructed with the child Bhagat Singh as a witness, eventually inspiring him to become a revolutionary in the Indian independence movement.

2006: Portions of the Hindi film Rang De Basanti nonlinearly depict the massacre and the influence it had on the freedom fighters.

2009: Bali Rai's novel, City of Ghosts, is partly set around the massacre, blending fact with fiction and magical realism. Dyer, Udham Singh and other real historical figures feature in the story.

2012: A few shots of the massacre are captured in the movie Midnight's Children, a Canadian-British film adaptation of Salman Rushdie's 1981 novel of the same name directed by Deepa Mehta.

2014: The British period drama Downton Abbey makes a reference to the massacre in the eighth episode of season 5 as "that terrible Amritsar business". The characters of Lord Grantham, Isobel Crawley and Shrimpy express their disapproval of the massacre when Susan MacClare and Lord Sinderby support it.

2017: The Hindi language film Phillauri references the massacre as the reason the spirit of the primary character portrayed by Anushka Sharma cannot find peace as her lover lost his life in Amritsar and was unable to return to their village for their wedding. The movie depicts the massacre and the following stampede, with the climax shot on-location at the modern-day Jallianwallah Bagh memorial.

 

WIKIPEDIA

In the heart of a silent chemist's shop, a mistery apothecary dwelled, lost in the alchemy of her own escape. She concocted potions with names whispered by the rustling leaves of imagination, elixirs like "Dreamweaver's Dose" and "Chimeric Essence."

 

Her dwelling became a sanctuary where reality mingled with fantasy. With every elixir, she danced between worlds, forging companionship with mutant creatures born from her chemically induced dreams. They soared on wings of prismatic hues, their forms a testament to the malleability of her consciousness.

 

The chemist's shop transformed into a haven of chromatic wonder. Shelves of medication became portals to realms where time flowed in nonlinear currents, and reality crumbled like ancient parchment.

 

As dawn painted the sky in soft hues, the echoes of her chemically spun utopia began to fade. The mutant creatures, once vivid and pulsating, dissipated into whispers of memory. The apothecary, a dreamweaver in the waking world, faced the reality she sought to escape, her veins still humming with the residual magic of unreality...

 

by me

 

Water-mixable oil paint on canvas 60x60cm.

Description: This is my image of M51 the Whirlpool Galaxy in Canes Venatici based on 21.75 hours of total exposure time. The ZWO Duo-Band light pollution filter used by me passes light at H-alpha and O(III) wavelengths at bandwidths of 15nm and 35nm, respectively. Achieving a good color balance proved to be one of my main challenges. To that end, I applied small doses of Curves Transformation in a series of steps checking for a good balance at each stage. I also used the same principle when applying the Local Histogram Transformation as well as the Histogram Transformation. This progressive approach helped me to build confidence in developing color in my image.

 

Date / Location: 24-25, 29-30 April and 2, 4-5 May 2022 / Washington D.C.

 

Equipment:

Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8

OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain

Mount: iOptron GEM28-EC

Guide Scope: ZWO ASI 30mm f/4

Guide Camera: ZWO ASI 120mm-mini

Light Pollution Filter: ZWO Duo-Band Light Pollution Filter

 

Processing Software: Pixinsight

 

Processing Steps:

Preprocessing: I preprocessed 261x300s subs (= 21.75 hours) in Pixinsight to get an integrated image using the following steps: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and Star Align > Image Integration.

Linear Postprocessing: Dynamic Crop > Dynamic Background Extractor (subtraction to remove light pollution gradients) > Dynamic Background Extractor (division for flat field corrections) > Background Neutralization > Color Calibration > Noise Xterminator.

Nonlinear Postprocessing: Histogram Transformation (two consecutive applications) > Local Histogram Equalization (two consecutive applications) > Curves Transformation (nine consecutive applications) > SCNR Noise Reduction > Histogram Transformation > SCNR Noise Reduction.

x

MIDIA ARTE / MEDIA ART

 

[fladry + jones]: Robb Fladry and Barry Jones – The War is Over 2007

 

Agricola de Cologne – One Day on Mars

 

Alan Bigelow – “When I Was President”

 

Alessandra Ribeiro Parente Paes, Daniel Fernandes Gamez, Glauber Kotaki Rodrigues, Igor Albuquerque Bertolino, Karina Yuko Haneda, Marcio Pedrosa Tirico da Silva Junior. Orientadores: Mércia Albuquerque e Mauro Baptista – Reativo

 

Alessandro Capozzo – Talea

 

Alex Hetherington – Untitled (sexback, folly artist)

 

Alexandre Campos, Bruno Massara e Lucilene Soares Alves – Novos Olhares sobre a Mobilidade

 

Alexandre Cardoso Rodrigues Nunes, Bruno Coimbra Franco, Diego Filipe Braga R. Nascimento, Fábio Rinaldi Batistine, Yumi Dayane Shimada. Orientadores: Mércia Albuquerque e Carlos Alberto Barbosa – Abra Sua Gaveta

 

All: Alcione de Godoy, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Machina

 

Andreas Zingerele – Extension of Human Sight

 

Andrei R. Thomaz – O Tabuleiro dos Jogos que se bifurcam

 

Andrei R. Thomaz – First Person Movements

 

Andrei R. Thomaz e Marina Camargo – Eclipses

 

Brit Bunkley – Eclipses

 

Brit Bunkley – Spin

 

cali man – appendXship

 

Carlindo da Conceição Barbosa, Kauê de Oliveira Souza, Guilherme Tetsuo Takei, Renato Michalischen, Ricardo Rodrigues Martins, Tassia Deusdara Manso, Thalyta de Almeida Barbosa.

Orientadores: Mauricio Mazza e Carlos Alberto Barbosa – Da Música ao Caos

 

Christoph Korn – waldstueck

 

Corpos Informáticos: Bia Medeiros – UAI 69

 

Daniel Duda – do pixel ao pixel

 

Daniel Kobayashi, Felipe Crivelli Ayub, Fernando Boschetti, Luiz Felipe M. Coelho, Marcelo Knelsen, Mauro Falavigna, Rafael de A. Campos, Wellington K. Guimarães Bastos. Orientadores: Mércia Albuquerque e Gizela Belluzo de Campos – A Casa Dentro da Porta

 

David Clark - 88 Constellations for Wittgenstein

 

Thais Paola Galvez, Josias Silva, Diego Abrahão Modesto, Nilson Benis, Vinicius Augusto Naka de Vasconcelos, Wilson Ruano Junior, Marcela Moreira da Silva. Orientadores: Paulo Costa e Mauricio Mazza – Rogério Caos

 

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 1/2

 

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez,Maryse Larivière, Marie-Josée Hardy, James Prior – Mês / My contacts

 

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Story teller

 

Fabian Antunes Silva – Pusada Recant Abaetuba

 

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre

 

Fernando Aquino – UAI-Justiça

 

Henry Gwiazda – claudia and paul

 

Henry Gwiazda – a doll`s house is……

 

Henry Gwiazda – there`s whispering......

 

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse

 

Isabel Margarida Aranda Mansilla – Cyber Birds Dance

 

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7

 

Jorb Ebner - sans femme et sans aviateur

 

Josephine Anstey e Dave Pape – Office Diva

 

Joshua Andrew Fishburn – Layers

 

Joshua Andrew Fishburn – Waiting

 

Joshua Andrew Fishburn – Peculiaris

 

Kevin Evensen – Veils of Light

 

lemeh42: santini michele e paoloni lorenza - Study on human form and humanity #01

 

Linda Hilfling Nielsen – misspelling generator

 

Lisa Link – If I worked for 493 years

 

Marcelo Padre – Estro

 

Martha Carrer Cruz Gabriel – Locative Painting

 

Martin John Callanan – I Wanted to See All of the News From Today

 

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura

 

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura – Homo ex Machina

 

Michael Takeo Magruder – Sequence-n (labyrinth)

 

Michael Takeo Magruder – Sequence-n (horizon)

 

Michael Takeo Magruder + Drew Baker + David Steele – The Vitruvian World

 

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary)

 

Nurit Bar-Shai – Nothing Happens

 

projectsinge: Blanquet jerome – Monkey_Party

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno – WATERCOLEUS PARK

 

rachelmauricio castro – 360

 

rachelmauricio castro – R.G.B.

 

rachelmauricio castro – tybushwacka

 

Rafael Rozendaal – future physics

 

Regina Célia Pinto – Ninhos e Magia

 

Ronaldo Ribeiro da Silva (Roni Ribeiro) – Bípedes

 

Rubens Pássaro – ISTO NÃO É PARANÓIA

 

Rui Filipe Antunes – xTNZ

 

Selcuk ARTUT & Cem OCALAN – NewsPaperBox

 

Stuart Pound – Dominat Culture

 

Stuart Pound – SF

 

Stuart Pound – Life on Mars

 

Susan Jowsey and Marcus Williams – The Trouble

 

Tanja Vujinovic – Osciloo

 

Weinberger Hannah – “Without Title”

   

CINEMA DOCUMENTA

 

Antonello Matarazzo – Interferenze

 

Bruno Natal - Dub Echoes

 

Carlo Sansolo - Panoramika Eletronika

 

Kevin Logan – Recitation

 

Kodiak Bachine e Apollo 9 – Nuncupate

 

Linda Hilfing Nielsen - Participation 0.0

 

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie

 

Matthew Bate - What The Future Sounded Like

 

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music

   

CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

  

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

Hipersônica Screening

 

Art Zoyd's: Amandine Top – EYECATCHER 1

 

Art Zoyd's: Amandine Top – EYECATCHER 2, Man with a movie câmera

 

Art Zoyd's: Amandine Top – Movie-Concert for The Fall of the Usher House

 

Flames aka Flames: Raphael Freire - Performance Audiovisual Sincronizada: Sociedade Pós-Moderna, Novas Tecnologias e Espaço Urbano

 

Celia Eid e Sébastien Béranger – Gymel

 

Duprass: Liora Belford e Ido Govrin – Free Field

 

Duprass: Liora Belford e Ido Govrin – Pink / Noise

 

Citrullo International: Carlo Hitermann – H2O

 

1mpar: Henrique Roscoe – HOL

 

Jay Needham - Narrative Half-life

 

Daniel Carvalho - butterbox – diving

 

Daniel Carvalho - OUT_FLOW PART I

 

Bernard Loibner – Meltdown

 

Soundsthatmatter – trotting

 

Soundsthatmatter – briji

 

Fernando Velázquez – Nómada

 

Bjorn Erik Haugen – Regress

 

Audiobeamers: Felipe Frozza - Paesaggi Liquidi II

 

David Muth - You Are The Sony Of My Life

 

Dennis Summers – Plase Shift Videos

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

x

x

CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

 

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

   

Cinema Documenta FILE São Paulo 2008

 

Antonello Matarazzo – Interferenze – Itália / Italy

Bruno Natal - Dub Echoes – Brasil / Brazil

Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil

Kevin Logan – Recitation – Londres / London

Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil

Linda Hilfing Nielsen - Participation 0.0 – Dinamarca

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany

Matthew Bate - What The Future Sounded Like – Austrália

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA

 

Mídia Arte FILE São Paulo 2008

 

[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA

Agricola de Cologne - One Day on Mars – Alemanha / Germany

alan bigelow - "When I Was President" – EUA / USA

Alessandra Ribeiro Parente Paes

Daniel Fernandes Gamez

Glauber Kotaki Rodrigues

Igor Albuquerque Bertolino

Karina Yuko Haneda

Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil

Alessandro Capozzo – Talea – Itália / Italy

Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon

Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil

Alexandre Cardoso Rodrigues Nunes

Bruno Coimbra Franco

Diego Filipe Braga R. Nascimento

Fábio Rinaldi Batistine

Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil

ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil

Andreas Zingerle - Extension of Human sight – Áustria

Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil

Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil

Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland

calin man – appendXship / Romênia

Carlindo da Conceição Barbosa

Kauê de Oliveira Souza

Guilherme Tetsuo Takei

Renato Michalischen

Ricardo Rodrigues Martins

Tassia Deusdara Manso

Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil

Christoph Korn – waldstueck – Alemanha / Germany

Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil

Duda. – do pixel ao pixel – Brasil / Brazil

Daniel Kobayashi

Felipe Crivelli Ayub

Fernando Boschetti

Luiz Felipe M. Coelho

Marcelo Knelsen

Mauro Falavigna

Rafael de A. Campos

Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil

David Clark - 88 Constellations for Wittgenstein – Canadá

Thais Paola Galvez

Josias Silva

Diego Abrahão Modesto

Nilson Benis

Vinicius Augusto Naka de Vasconcelos

Wilson Ruano Junior

Marcela Moreira da Silva – Rogério caos – Brasil / Brazil

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil

Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil

Fernando Aquino – UAI Justiça – Brasil / Brazil

Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan

Yto Aranda – Cyber Birds Dance – Chile

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA

Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon

Josephine Anstey, Dave Pape - Office Diva – EUA / USA

Josh Fishburn – Layers – Waiting – EUA / USA

Karla Brunet – Peculiaris – Brasil / Brazil

Kevin Evensen - Veils of Light – EUA / USA

lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy

linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark

Lisa Link - If I Worked for 493 years – EUA / USA

Marcelo Padre – Estro – Brasil / Brazil

Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil

Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil

Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon

Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon

Nurit Bar-Shai - Nothing Happens – EUA / USA

projectsinge: Blanquet Jerome - Monkey_Party – França / France

QUBO GAS - WATERCOULEUR PARK – França / France

rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil

Rafael Rozendaal - future physics – Netherlands

Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil

Roni Ribeiro – Bípedes – Brasil / Brazil

Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil

Rui Filipe Antunes – xTNZ – Brasil / Brazil

Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil

Tanja Vujinovic - "Without Title" – Switzerland

 

Hipersônica Screening – FILE São Paulo 2008

 

1mpar – hol – Brasil / Brazil

Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France

Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany

Bernhard Loibner – Meltdown – Áustria

Bjørn Erik Haugen – Regress - Norway

Celia Eid e Sébastien Béranger – Gymel – França / France

Studio Brutus/Citrullo International - H2O – Itália / Italy

Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil

David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon

Dennis Summers - Phase Shift Vídeos – EUA / USA

Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel

Fernando Velázquez – Nómada – Brasil / Brazil

Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil

Frederico Pessoa - butterbox – diving - Brasil / Brazil

Jay Needham - Narrative Half-life – EUA / USA

Soundsthatmatter – trotting – briji – Brasil / Brazil

x

Steven Strogatz has a way of finding rhythm in places most people overlook. In his office at Malott Hall at Cornell, and later in the Space Sciences Building at the SPIF, that rhythm came alive in a simple but elegant experiment. Two small metronomes ticked on a shared platform, gradually aligning their beats as if discovering a shared pulse. Strogatz leaned in, smiling as the synchronization unfolded. The moment captured both his joy and his curiosity, the twin forces that have guided his life in mathematics.

 

For decades, Strogatz has explored the hidden order beneath the world’s apparent chaos. His work has spanned from the synchrony of fireflies flashing in unison to the oscillations of the human heart. He has revealed how patterns emerge naturally when systems, whether biological, physical, or social, interact in just the right way. His research on coupled oscillators, complex networks, and nonlinear dynamics has reshaped how scientists think about everything from brain function to the spread of ideas.

 

At Cornell, Strogatz is known as a gifted communicator who bridges the gap between advanced mathematics and everyday experience. His lectures attract students from across the university. In books such as Sync, The Joy of x, and Infinite Powers, he writes with clarity and wonder, turning abstract ideas into stories that feel alive. His voice carries the same enthusiasm whether he is explaining calculus or describing the geometry of friendship.

 

What sets him apart is not only his command of mathematics but his warmth and wit. He listens as carefully as he speaks, often finding metaphors in the natural world or in a casual conversation with a colleague. His humor disarms. His curiosity invites. Watching him adjust the metronomes, eyes bright behind his glasses, it is easy to understand why students and collaborators describe him as both rigorous and kind.

 

Beneath it all is a belief that mathematics is not separate from life but a language that reveals its beauty. The dance of the metronomes, the firing of neurons, the movement of planets, and the laughter shared across a classroom all express a single truth about connection and harmony.

 

In person, Strogatz radiates calm delight in the act of discovery. The photograph from that afternoon shows him resting on his arms, thoughtful, as the metronomes begin to fall into sync before him. It is a quiet moment that suggests something larger, a glimpse of the universal tendency toward order and the human impulse to understand it.

So this is [my third time shooting NGC 7380](i.imgur.com/xCdlJTA.png) (previous pics were from 2018 and 2020). This time around I decided to go with a different false-color palette (exact details below) compared to my prior true color and Hubble palette pics. Captured over 4 nights in Nov/Dec, 2023 from a Bortle 9 zone.

 

**Places where I host my other images:**

 

[Flickr](www.flickr.com/people/leftysastrophotography/) | [Instagram](www.instagram.com/leftysastrophotography/)

 

---

 

**[Equipment:](i.imgur.com/ejpKkwU.jpg)**

  

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 12 hours 48minutes (Camera at unity gain, -15°C)

 

* Ha - 33x360"

 

* Oiii - 52x360"

 

* Sii - 43x360"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight processing:**

 

**Preprocessing**

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration per channel per panel

 

* DrizzleIntegration (2x, Var β=1.5) per panel per channel

 

* StarAlignment in mosaic mode to align the two panels, then GradientMergeMosaic to combine them

 

**Linear:**

 

* DynamicBackground Extraction

 

> duplicated each image and removed stars via StarXterminator. Ran DBE with a shitload of points to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)

 

> $T * med(model) / model

 

* BlurXTerminator

 

* NoiseXterminator

 

* Duplicated images, to be used later for stars only processing

 

* STF applied via HistogramTransformation to bring nonlinear

 

**Stars processing:**

 

* Extracted stars-only pic using StarXterminator

 

* Pixelmath to make color SHO --> RGB image

 

* SpectroPhotometricColorCalibration (narrowband working mode)

 

* ArcsinhStretch + HT to bring nonlinear

 

* SCNR > invert > SCNR >invert to remove greens and magentas from stars

 

* Stars only pic saved for later addition to starless pic

 

**Nonlinear:**

 

* StarX to remove all stars

 

* PixelMath to create color image in OSH --> RGB palette

 

* PixelMath to make a second image using Jimmy's Royal Palette:

 

> R = 0.3\*Oiii+0.7\*(Oiii\^~(0.7\*Ha+0.3\*Sii))\^1.2

 

> G = ((Oiii\*Ha)\^~(Oiii\*Ha))\*Ha + ~((Oiii\*Ha)\^~(Oiii\*Ha))\*Sii

 

> B = 0.9\*Sii+Ha-Oiii

 

* PixelMath to blend OSH and Jimmy pics together 50:50

 

* LRGBCombination using stretched Ha as luminance

 

* shitloads of CurveTransformations to adjust hue, lightness, saturation, etc. (some with lum masks)

 

* another round of NoiseXTerminator

 

* Extract L --> LRGBCombination for chrominance noise reduction

 

* LocalHistogramEqualization

 

* More curves

 

* MultiscaleLinearTransform

 

* Relinearized narrowband and stars images to add in the stars only image

 

> "unstretched" both images with histogramtransformation midtones set to 0.9999

 

> pixelmath to just add those two images together

 

> histogramtransformation to un-relinearize them by setting midtones to 0.0001

 

* Even more curves

 

* Resample to 60%

 

* annotation

 

and Superhuman Magnetic Man Miroslaw Magola discuss Isaac Newton's universal law of gravitation. Newton's law of universal gravitation states that every particle attracts every other particle in the universe with a force which is directly proportional to the product of their masses and inversely proportional to the square of the distance between their centers. This is a general physical law derived from empirical observations by what Isaac Newton called inductive reasoning. It is a part of classical mechanics and was formulated in Newton's work Philosophiæ Naturalis Principia Mathematica ("the Principia"), first published on 5 July 1687. When Newton presented Book 1 of the unpublished text in April 1686 to the Royal Society, Robert Hooke made a claim that Newton had obtained the inverse square law from him.

 

In today's language, the law states that every point mass attracts every other point mass by a force acting along the line intersecting the two points. The force is proportional to the product of the two masses, and inversely proportional to the square of the distance between them.

Newton's law has since been superseded by Albert Einstein's theory of general relativity, but it continues to be used as an excellent approximation of the effects of gravity in most applications. Relativity is required only when there is a need for extreme accuracy, or when dealing with very strong gravitational fields, such as those found near extremely massive and dense objects, or at very close distances (such as Mercury's orbit around the Sun).

 

From Wikipedia, the free encyclopedia

 

Prof. dr. Dierk Schroeder spent ten years in various positions at Asea Brown Boveri (ABB), Mannheim, Germany. In 1979 he was named Professor and Chairman of the Institute of Electronics and Power Electronics at the University of Kaiserslautern. In 1983 he was named Professor and Chairman of the Institute of Electrical Drive, Systems at the Technical University of Munich, Germany. During 2006 -2009 retired but still in the old position, Since 2009 writing books and give lectures about Intelligent Strategies.

Industrial career: 1970-1976 Brown Boveri & Cie., Mannheim (now ABB); Research and Development Department, various areas of research and different positions 1976-1979 BBC, Mannheim, Head of the Technical Department of the Industrial Division

 

Academic career: 1979-1983 (interim until 1985) Technical University of Kaiserslautern, Chair and Director of the Institute for Electronics and Power Electronics 1983 - 2006 Technical University Munich,

Chair and Director of Electrical Drive Systems (Mechatronics)

2006 -2009 retired but still in the old position

2009 - now writing books and lecture Intelligent Strategies

 

Main areas of education: power electronic components, power electronic circuits, electrical drives, control of electrical drives, mechatronics, nonlinear control, simulation of drives and mechatronic systems, simulation tools

Main areas of research: physical modelling of power electronic components and circuits for CAE, high dynamic control of drives, design and development of a hybrid car [DFG research program 365 "autark hybrid car", Transferbereich 38, responsible for the modelling of all components, simulation, optimization of the rating of the component, optimization of the driving strategy (of- and on-line), control of the car, electrical drive train]; combustion engine control, HIL- test stand for automotive components; nonlinear control strategies for the identification, modelling and control, web handling (paper, printing, seal, foil)

 

Honours: Honour PhD given from the Moscow Power Engineering Institute in Moscow, 1993,

Fellow IEEE, 2002

 

Editorial activities: Four books "Electrical Drives 1 - 4", Springer

Fundamentals 1994 and 2002 (640 pages), 2007 ( 736 pages ), 2009 ( 742 pages )

Control 1995, 2001 (1240 pages) and 2006, 2008 ( 1336 pages, new edition 2012

Power Electronic Components 1996 and 2005 (1001 pages)

Power Electronic Circuits 1998 und 2006 , 2012 new edition

Gear Motor Handbook, Springer; Intelligent Identification and Control for Nonlinear Systems, Springer 2000

Intelligente Verfahren - Identifikation und Regelung nichtlinearer Systeme, Springer Verlag . 2009 (840 pages )

Currently more than 370 publications on conferences and technical papers

Stephen Hawking predicted a race of superhumans will take over the world. Physicist Michio Kaku on exploring the universe via avatars, in Mysteries of the Mind and What about telekinesis? said:

Stan Lee a comic-book creator who co-launched superheroes like the Fantastic Four, Spider-Man, Doctor Strange and the X-Men for Marvel Comics

From the Met Website: Artist Tomás Saraceno (born in Tucumán, Argentina, in 1973) has created a constellation of large, interconnected modules constructed with transparent and reflective materials for the Museum's Iris and B. Gerald Cantor Roof Garden. Visitors may enter and walk through these habitat-like, modular structures grouped in a nonlinear configuration. Over the past decade, Saraceno has established a practice of constructing habitable networks based upon complex geometries and interconnectivity that merge art, architecture, and science. The interdisciplinary project "Cloud Cities/Air Port City" is rooted in the artist's investigation of expanding the ways in which we inhabit and experience our environment.

An example of applying textures to Structure Synth -> SunFlow output.

 

You will have to modify the Structure Synth export templates to use the desired texture, e.g.:

 

shader {

name "shader05"

type phong

texture "texture.png"

spec { "sRGB nonlinear" 1.0 1.0 1.0 } 50

samples 4

}

 

(Notice Phong shading requires a light to be present in the scene)

 

In order to apply the texture you also need to assign UV (texture) coordinates to the polygons making up the standard box. Modify the existing box definition to the following:

 

object {

shader none

transform col 0.001 0 0 0 0 0.001 0 0 0 0 0.001 0 0 0 0 1

type generic-mesh

name "Box"

points 8

1 1 1

1 0 1

0 0 1

0 1 1

0 1 0

0 0 0

1 0 0

1 1 0

triangles 12

0 3 2

0 2 1

2 3 4

2 4 5

3 0 7

3 7 4

0 1 6

0 6 7

1 2 5

1 5 6

5 4 7

5 7 6

normals none

uvs facevarying

1 1 0 1 0 0

1 1 0 0 1 0

0 0 1 0 1 1

0 0 1 1 0 1

0 0 1 0 1 1

0 0 1 1 0 1

1 0 0 0 0 1

1 0 0 1 1 1

1 0 0 0 0 1

1 0 0 1 1 1

0 0 0 1 1 1

0 0 1 1 1 0

}

 

For the shader above, the texture image is repeated on each face of the box. If you want finer control over the orientation and position of the textures, you have to modify the UV coords above.

Still working on this image of IC405 The Flaming Star Nebula, 7 hours of data in this image using narrow band imaging (Sulphur II, Hydrogen Alpha and Oxygen III) captured over 5 nights between Oct and Dec 2020

 

It reminds me of a flame burning on water with it's reflection in the water.

 

Higher res version and more details here:

astrob.in/d4fkal/D/

 

A few years ago I shot [just the core](live.staticflickr.com/65535/50619661997_0ea7a84b04_o.png) of NGC7822, and I've decided to reshoot it as a 2 panel mosaic to get some of the outer structures. The whole nebula is [actually pretty big in the sky](i.imgur.com/ojII7b5.png) (over 3 degrees!), but I did not want to deal with processing another 8+ panel mosaic to fit the whole thing.

 

Captured over 23 nights from September through November, 2023 from a Bortle 9 zone.

 

---

 

**[Equipment:](i.imgur.com/ejpKkwU.jpg)**

  

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 51 hours 30 minutes (Camera at -15°C)

 

* Left panel:

 

* Ha - 54x360"

 

* Oiii - 130x360"

 

* Sii - 101x360"

 

* Right Panel:

 

* Ha - 46x360"

 

* Oiii - 94x360"

 

* Sii - 90x360"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight processing:**

 

**Preprocessing**

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration per channel per panel

 

* DrizzleIntegration (2x, Var β=1.5) per panel per channel

 

* StarAlignment in mosaic mode to align the two panels, then GradientMergeMosaic to combine them

 

**Linear:**

 

* DynamicBackground Extraction

 

> duplicated each image and removed stars via StarXterminator. Ran DBE with a shitload of points to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)

 

> $T * med(model) / model

 

* BlurXTerminator

 

* NoiseXterminator

 

* STF applied via HistogramTransformation to bring nonlinear

 

**Nonlinear:**

 

* PixelMath to combine stretched narrowband masters into color image

 

> SHO --> RGB (classic Hubble Palette)

 

* removed stars and processed stars-only image separately with invert>SCNR and curve adjustments, to be added to starless image later.

 

* HistogramTransformations to adjust channel intensities

 

* Invert > SCNR > Invert to remove magentas

 

* CurveTransformations for slight hue adjustments

 

* LRGBCombination using stretched Ha as luminance

 

* shitloads of CurveTransformations to adjust hue, lightness, saturation, etc. (some with lum masks)

 

* MLT chrominance noise reduction

 

* NoiseXTerminator

 

* LocalHistogramEqualization

 

> Two round of this: one at kernel radius 16 for the finer 'feathery' details and one at 512+ for larger structures

 

* More curves

 

* Relinearized narrowband and stars images to add in the stars only image

 

> "unstretched" both images with histogramtransformation midtones set to 0.9999

 

> pixelmath to just add those two images together

 

> histogramtransformation to un-relinearize them by setting midtones to 0.0001

 

* ColorSaturation

 

* Even more curves

 

* Extract L > LRGBCombination for some chrominance noise reduction

 

* Slight SCNR to remove some greens from the bright parts of the nebula

 

* DynamicCrop to remove a few artifacts around the edge where the panels overlap

 

* Resample to 60%

 

* annotation

 

Standing wave interference

armchairarcade.com/neo/node/1415

 

The incredibly sturdy metal Kaypro II (1982) from Non-Linear Systems, shown running Infocom’s classic science fiction text adventure, Starcross (1983). Famed science fiction author Arthur C. Clarke reportedly collaborated remotely on writing the screenplay for the 1984 movie, 2010: The Year We Make Contact, with director Peter Hyams, using one of these systems and a modem to transfer files. Clarke was based in Sri Lanka, while Hyams was in Los Angeles.

 

Other Infocom CP/M ports included the Zork series, Enchanter, Sorcerer, Deadline, Suspended, The Witness, Planetfall, Infidel, Seastalker and Cutthroats. Certain combinations of CP/M and hardware platform, like Digital Research’s CP/M 2.2 running on the Osborne OCC 1, supported a simple graphics character set. Eventually, other systems would support full graphics, but a standard was never settled upon and the majority of CP/M software remained text based.

 

CP/M was essentially the de facto operating system from the mid-1970s up to the rise of MS-DOS in the early 1980s. In fact, after the introduction of the IBM PC and PC-DOS (MS-DOS), hybrid systems began to appear, which contained both 8- and 16-bit processors, one each to run CP/M and MS-DOS respectively. While CP/M compatibility was not a problem, as with many early MS-DOS systems, true compatibility with the IBM PC was.

 

In any case, while not a great game platform, CP/M is home to several different types of text-based games, including the aformentioned text adventures and Rogue-alikes. What's surprising is that action-oriented games made an appearance on the operating system as well. For instance, Ladder (1983), from Yahoo Software, is a surprisingly fun platform game done entirely with text characters and controlled via the keyboard. Other titles even cloned popular arcade games, like Space Invaders, with a game called Aliens, again entirely in text mode.

 

You can read more about CP/M and many other systems in my upcoming book, or keep visiting Armchair Arcade. See you next time!

 

www.oreilly.com/catalog/9781593271558/index.html

 

St Lucia

 

The Toyota Crown (Japanese: トヨタクラウン Toyota Kuraun) is a line of mid-size and full-size luxury sedans by Toyota primarily aimed at the Japanese market and sold in other select Asian markets.

 

Introduced in 1955, it has served as the mainstream sedan from Toyota in the Japanese market throughout its existence and holds the distinction of being the longest running passenger-car nameplate affixed to any Toyota model, along with being the first Toyota vehicle to be exported to the United States in 1958. Its traditional competitors in Japan and Asia have been the Nissan Cedric/Gloria/Fuga and the Honda Legend, along with the defunct Mazda Luce, Isuzu Bellel, and Mitsubishi Debonair.

 

Available at Toyota Store dealers in Japan, the Crown has been popular for government usage, whether as a police car or for transporting government officials. It has also been popular with Japanese companies as company cars along with use as a taxicab. While a base Crown was available for many years aimed at the taxicab market, the increasing opulence and price of the Crown line led to the creation of the Toyota Comfort in 1995 as a more affordable alternative.

 

In North America, the first through fourth generations were offered from 1958 through 1973.[2] It was replaced with the Toyota Corona Mark II, which was later renamed the Toyota Cressida, after which the Cressida was replaced by the Toyota Avalon as Toyota's large sedan in North America. The Crown has also been partially succeeded in export markets by its closely related sibling, the Lexus GS, which since its debut in 1991 as the Toyota Aristo has always shared the Crown's platform and powertrain options. Later models of the GS and Crown have taken on a very strong aesthetic kinship through shared design cues.

 

The Crown's history and reputation has given it prominence in the Toyota lineup, as it is one of the few current Toyota models to carry its own unique insignia for the model line with the current Crown having a stylized crown emblem on the grille and steering wheel along with inspiring the names of its smaller progenitors. The Corona, introduced as a smaller companion to the Crown means "crown" in Latin and was initially exported as the "Tiara", while the Corolla took its name from the regal chaplet. The Camry's name is derived from the Japanese phrase kanmuri (冠, かんむり) meaning "little crown" and the Toyota Scepter took its name from the sceptre, an accessory to a crown.

 

As of 2013, the Toyota Crown is sold in Japan and China

 

The 170-series features shorter front overhang therefore maximizes interior and trunk space. There are two different 170-series 4-door Saloon; the Royal, and Athlete. The Majesta is a separate vehicle which is larger and longer than the Crown. The 4-door Hardtop was discontinued. The 170-series Estate was the first new Crown Wagon after the 130-series. Engine is either 2.0, 2.5, or 3.0. The Athlete V has 2.5-liter 1JZ-GTE turbo. The Royal was also offered with a 3.0-liter 2JZ-FSE mild hybrid.

 

An innovation was the electronically controlled (Toyota Electronic Modulated Suspension) air suspension combining nonlinear H-infinity control of damping force and roll-orientation control

Madame Hang Nga est la fille de l’ancien secrétaire général du parti communiste Truong Chinh, elle a obtenu son diplôme d’architecte à Moscou. Puis, après plusieurs années de travail auprès du gouvernement vietnamien, elle a décidé de se consacrer à son rêve de créer une maison comme aucune autre dans le monde, une maison inspirée de la nature. Hang Nga a déclaré à CNN Travel que : « Crazy House est le point culminant de ma vie et de ma créativité : tout est réuni dans cette structure. Je voulais créer quelque chose d’original, de pionnier, différent de tout ce qui se trouve dans le monde ».

La Crazy House de Dalat est créée pour rapprocher l'Homme de la naturePour réaliser son rêve, Hang Nga a du faire face à plusieurs obstacles. En commençant par l’opposition du gouvernement pour la construction de cette maison. En effet, Hang Nga ne voulait suivre aucune stratégie architecturale et créer entièrement la maison. Cela représentait des risques sécuritaires sur la fiabilité de la structure. Il y avait aussi l’esthétisme de l’édifice qui était critiqué, car il ne correspondait pas du tout au style colonial de Dalat. De plus, avec le désaccord du gouvernement, Hang Nga n’avait pas de soutiens financiers pour la construction de la maison folle. Mais, celle-ci était plutôt téméraire, elle ne baissa pas les bras et réussi à obtenir des financements privés grâce à sa famille et à ses amis, lui permettant de débuter la construction de la maison folle. Puis, le gouvernement finit par céder et soutenir Hang Nga dans son projet fou… lui évitant ainsi de nombreuses restrictions.

Lorsque Hang Nga débuta la réalisation de la Crazy House, elle n’avait pas pour objectif d’en faire une maison d’hôte. Mais, la réalisation de ce projet avait nécessité de gros moyens financiers, engendrant ainsi 30 millions VND de dettes, une somme plutôt exorbitante… Alors, en 1990 l’architecte ouvrit la maison au public pour qu’ils puissent la visiter mais aussi y dormir. En plus de leurs originalités, les chambres offrent tout l’équipement nécessaire à un hôtel de luxe. De quoi allier fantaisie et confort pour un séjour des plus agréables.

Aujourd’hui, la maison est en perpétuelle construction depuis son ouverture au public.La maison folle est l’une des attractions touristiques majeures de Dalat et pour cette raison, le gouvernement participe financièrement à ses projets actuels et futurs. En effet, la maison folle est citée dans de nombreux guides touristiques comme le Lonely Planet. Elle est aussi classée parmi les 10 bâtiments les plus bizarres au monde selon le quotidien du peuple chinois.

 

On peut dire que The Crazy Guesthouse est un mariage parfait entre l’aspect poétique et la beauté naturelle de Dalat.

 

Hằng Nga guesthouse (Vietnamese: Biệt thự Hằng Nga), popularly known as the “Crazy House” (Vietnamese: Ngôi nhà quái dị), is an unconventional building designed and constructed by Vietnamese architect Đặng Việt Nga in Đà Lạt, Vietnam.

 

Described as a “fairy tale house” (Hằng Nga, Vietnamese: 姮娥, is the Chinese goddess of the Moon), the building's overall design resembles a giant tree, incorporating sculptured design elements representing natural forms such as animals, mushrooms, spider webs and caves. Its architecture, comprising complex, organic, non-rectilinear shapes, has been described as expressionist. Nga has acknowledged the inspiration of Catalan architect Antoni Gaudí in the building's design, and visitors have variously drawn parallels between it and the works of artists such as Salvador Dalí and Walt Disney.[1][2] Since its opening in 1990, the building has gained recognition for its unique architecture, being highlighted in numerous guidebooks and listed as one of the world's ten most “bizarre” buildings in the Chinese People's Daily.[3][4]

 

Design[edit]

 

The guesthouse's exterior is decorated with twisting organic forms.

 

A cave-shaped stairway.

Hang Nga guesthouse was originally built as a personal project by Vietnamese architect Dang Viet Nga, opening to the public in 1990. Nga, daughter of Trường Chinh, who received a PhD in architecture from the University of Moscow, has stated that her overall design was inspired by the natural environment surrounding of the city of Da Lat, along with the work of Catalan architect Antoni Gaudí.[1][4]

 

Architecture[edit]

Rather than using standard architectural plans as blueprints, Nga produces paintings, and hires non-professional local craftsmen to transform these into structural elements. Few right angles are found throughout the building,[4] which instead boasts a complex organic structure echoing natural forms. The building's exterior resembles a five-story-high banyan tree,[5] with unevenly shaped window openings and branch-like structures that "grow" along its walls and rise above the roof into the sky.[3] Describing it as a "fairy tale house", observers have variously drawn comparisons between the building's architecture and the works of Salvador Dalí and Walt Disney.[2][4] In attempting to classify the building's architecture, the People's Committee of the city of Đà Lạt described it as “expressionist”.[1]

 

Interior design[edit]

The guesthouse has ten themed guest rooms,[6] each one having an animal as its theme; examples include the tiger room, the eagle room, the ant room and the kangaroo room, each with decorations matching the theme. The walls of the tiger room, for instance, feature a large tiger with glowing red eyes; the kangaroo room incorporates a sculpted kangaroo with a fireplace in its belly; the fireplace in the eagle room is in the form of a giant eagle's egg. Many of the rooms incorporate an added level of symbolism, with the animal theme connected to a particular nationality. For instance, Nga describes the tiger room as representing “the strengths of the Chinese”; the eagle room as being “big and strong” like Americans; and the ant room as representing the “hard working Vietnamese”.[1]

 

Furniture inside the rooms is handcrafted—and sometimes even built into the rooms themselves—to match the rooms’ nonlinear, organic shape. Stone decorations throughout the house depict animals such as bears, giraffes, frogs, spiders and ants, along with natural elements such as mushrooms and spider webs. Stairways and hallways inside the building are designed to resemble tunnels and caves.[1][4][5]

 

Reactions to the guesthouse's unique architecture have been mixed.

The five-storey-high guesthouse has generated a great deal of attention and controversy since its inception, with reactions ranging from criticism and derision to open admiration. The house was dubbed the "Crazy House" by early visitors, a name which Dang soon adopted for the house herself.[3]

 

Visitors have generally responded positively to the house, describing it as "brave", "brilliant", "quintessentially cosmic", and lauding Nga for her vision and dedication to her work.[2] One French tourist commented as follows:

 

Thanks for showing me the meaning of life. The fairy tale house took me back to my childhood, to when things were pure and natural.[3]

Local authorities, including the People's Committee of the city of Da Lat, opposed Nga's work on the house for many years, rejecting her proposals while citing concerns about its ad-hoc character, its lack of formal aesthetic and its structural integrity. With perseverance—and private funding from friends and family—Dang was nevertheless able to further develop and refine the house, and was eventually able to convince the national government in Hanoi to endorse her work, allowing her to continue building without restrictions.[1][3]

 

The building has been highlighted in numerous travel guidebooks: the third edition of Frommer's Vietnam, for example, called the guesthouse "an interesting, evolving piece of pop art", and "a fun visit".[7] In 2009, the building was listed by the Chinese People’s Daily as one of the world's ten most “bizarre” buildings.[3]

x

MIDIA ARTE / MEDIA ART

 

[fladry + jones]: Robb Fladry and Barry Jones – The War is Over 2007

 

Agricola de Cologne – One Day on Mars

 

Alan Bigelow – “When I Was President”

 

Alessandra Ribeiro Parente Paes, Daniel Fernandes Gamez, Glauber Kotaki Rodrigues, Igor Albuquerque Bertolino, Karina Yuko Haneda, Marcio Pedrosa Tirico da Silva Junior. Orientadores: Mércia Albuquerque e Mauro Baptista – Reativo

 

Alessandro Capozzo – Talea

 

Alex Hetherington – Untitled (sexback, folly artist)

 

Alexandre Campos, Bruno Massara e Lucilene Soares Alves – Novos Olhares sobre a Mobilidade

 

Alexandre Cardoso Rodrigues Nunes, Bruno Coimbra Franco, Diego Filipe Braga R. Nascimento, Fábio Rinaldi Batistine, Yumi Dayane Shimada. Orientadores: Mércia Albuquerque e Carlos Alberto Barbosa – Abra Sua Gaveta

 

All: Alcione de Godoy, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Machina

 

Andreas Zingerele – Extension of Human Sight

 

Andrei R. Thomaz – O Tabuleiro dos Jogos que se bifurcam

 

Andrei R. Thomaz – First Person Movements

 

Andrei R. Thomaz e Marina Camargo – Eclipses

 

Brit Bunkley – Eclipses

 

Brit Bunkley – Spin

 

cali man – appendXship

 

Carlindo da Conceição Barbosa, Kauê de Oliveira Souza, Guilherme Tetsuo Takei, Renato Michalischen, Ricardo Rodrigues Martins, Tassia Deusdara Manso, Thalyta de Almeida Barbosa.

Orientadores: Mauricio Mazza e Carlos Alberto Barbosa – Da Música ao Caos

 

Christoph Korn – waldstueck

 

Corpos Informáticos: Bia Medeiros – UAI 69

 

Daniel Duda – do pixel ao pixel

 

Daniel Kobayashi, Felipe Crivelli Ayub, Fernando Boschetti, Luiz Felipe M. Coelho, Marcelo Knelsen, Mauro Falavigna, Rafael de A. Campos, Wellington K. Guimarães Bastos. Orientadores: Mércia Albuquerque e Gizela Belluzo de Campos – A Casa Dentro da Porta

 

David Clark - 88 Constellations for Wittgenstein

 

Thais Paola Galvez, Josias Silva, Diego Abrahão Modesto, Nilson Benis, Vinicius Augusto Naka de Vasconcelos, Wilson Ruano Junior, Marcela Moreira da Silva. Orientadores: Paulo Costa e Mauricio Mazza – Rogério Caos

 

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 1/2

 

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez,Maryse Larivière, Marie-Josée Hardy, James Prior – Mês / My contacts

 

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Story teller

 

Fabian Antunes Silva – Pusada Recant Abaetuba

 

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre

 

Fernando Aquino – UAI-Justiça

 

Henry Gwiazda – claudia and paul

 

Henry Gwiazda – a doll`s house is……

 

Henry Gwiazda – there`s whispering......

 

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse

 

Isabel Margarida Aranda Mansilla – Cyber Birds Dance

 

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7

 

Jorb Ebner - sans femme et sans aviateur

 

Josephine Anstey e Dave Pape – Office Diva

 

Joshua Andrew Fishburn – Layers

 

Joshua Andrew Fishburn – Waiting

 

Joshua Andrew Fishburn – Peculiaris

 

Kevin Evensen – Veils of Light

 

lemeh42: santini michele e paoloni lorenza - Study on human form and humanity #01

 

Linda Hilfling Nielsen – misspelling generator

 

Lisa Link – If I worked for 493 years

 

Marcelo Padre – Estro

 

Martha Carrer Cruz Gabriel – Locative Painting

 

Martin John Callanan – I Wanted to See All of the News From Today

 

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura

 

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura – Homo ex Machina

 

Michael Takeo Magruder – Sequence-n (labyrinth)

 

Michael Takeo Magruder – Sequence-n (horizon)

 

Michael Takeo Magruder + Drew Baker + David Steele – The Vitruvian World

 

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary)

 

Nurit Bar-Shai – Nothing Happens

 

projectsinge: Blanquet jerome – Monkey_Party

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno – WATERCOLEUS PARK

 

rachelmauricio castro – 360

 

rachelmauricio castro – R.G.B.

 

rachelmauricio castro – tybushwacka

 

Rafael Rozendaal – future physics

 

Regina Célia Pinto – Ninhos e Magia

 

Ronaldo Ribeiro da Silva (Roni Ribeiro) – Bípedes

 

Rubens Pássaro – ISTO NÃO É PARANÓIA

 

Rui Filipe Antunes – xTNZ

 

Selcuk ARTUT & Cem OCALAN – NewsPaperBox

 

Stuart Pound – Dominat Culture

 

Stuart Pound – SF

 

Stuart Pound – Life on Mars

 

Susan Jowsey and Marcus Williams – The Trouble

 

Tanja Vujinovic – Osciloo

 

Weinberger Hannah – “Without Title”

   

CINEMA DOCUMENTA

 

Antonello Matarazzo – Interferenze

 

Bruno Natal - Dub Echoes

 

Carlo Sansolo - Panoramika Eletronika

 

Kevin Logan – Recitation

 

Kodiak Bachine e Apollo 9 – Nuncupate

 

Linda Hilfing Nielsen - Participation 0.0

 

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie

 

Matthew Bate - What The Future Sounded Like

 

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music

   

CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

  

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

Hipersônica Screening

 

Art Zoyd's: Amandine Top – EYECATCHER 1

 

Art Zoyd's: Amandine Top – EYECATCHER 2, Man with a movie câmera

 

Art Zoyd's: Amandine Top – Movie-Concert for The Fall of the Usher House

 

Flames aka Flames: Raphael Freire - Performance Audiovisual Sincronizada: Sociedade Pós-Moderna, Novas Tecnologias e Espaço Urbano

 

Celia Eid e Sébastien Béranger – Gymel

 

Duprass: Liora Belford e Ido Govrin – Free Field

 

Duprass: Liora Belford e Ido Govrin – Pink / Noise

 

Citrullo International: Carlo Hitermann – H2O

 

1mpar: Henrique Roscoe – HOL

 

Jay Needham - Narrative Half-life

 

Daniel Carvalho - butterbox – diving

 

Daniel Carvalho - OUT_FLOW PART I

 

Bernard Loibner – Meltdown

 

Soundsthatmatter – trotting

 

Soundsthatmatter – briji

 

Fernando Velázquez – Nómada

 

Bjorn Erik Haugen – Regress

 

Audiobeamers: Felipe Frozza - Paesaggi Liquidi II

 

David Muth - You Are The Sony Of My Life

 

Dennis Summers – Plase Shift Videos

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

x

x

MIDIA ARTE / MEDIA ART

 

[fladry + jones]: Robb Fladry and Barry Jones – The War is Over 2007

 

Agricola de Cologne – One Day on Mars

 

Alan Bigelow – “When I Was President”

 

Alessandra Ribeiro Parente Paes, Daniel Fernandes Gamez, Glauber Kotaki Rodrigues, Igor Albuquerque Bertolino, Karina Yuko Haneda, Marcio Pedrosa Tirico da Silva Junior. Orientadores: Mércia Albuquerque e Mauro Baptista – Reativo

 

Alessandro Capozzo – Talea

 

Alex Hetherington – Untitled (sexback, folly artist)

 

Alexandre Campos, Bruno Massara e Lucilene Soares Alves – Novos Olhares sobre a Mobilidade

 

Alexandre Cardoso Rodrigues Nunes, Bruno Coimbra Franco, Diego Filipe Braga R. Nascimento, Fábio Rinaldi Batistine, Yumi Dayane Shimada. Orientadores: Mércia Albuquerque e Carlos Alberto Barbosa – Abra Sua Gaveta

 

All: Alcione de Godoy, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Machina

 

Andreas Zingerele – Extension of Human Sight

 

Andrei R. Thomaz – O Tabuleiro dos Jogos que se bifurcam

 

Andrei R. Thomaz – First Person Movements

 

Andrei R. Thomaz e Marina Camargo – Eclipses

 

Brit Bunkley – Eclipses

 

Brit Bunkley – Spin

 

cali man – appendXship

 

Carlindo da Conceição Barbosa, Kauê de Oliveira Souza, Guilherme Tetsuo Takei, Renato Michalischen, Ricardo Rodrigues Martins, Tassia Deusdara Manso, Thalyta de Almeida Barbosa.

Orientadores: Mauricio Mazza e Carlos Alberto Barbosa – Da Música ao Caos

 

Christoph Korn – waldstueck

 

Corpos Informáticos: Bia Medeiros – UAI 69

 

Daniel Duda – do pixel ao pixel

 

Daniel Kobayashi, Felipe Crivelli Ayub, Fernando Boschetti, Luiz Felipe M. Coelho, Marcelo Knelsen, Mauro Falavigna, Rafael de A. Campos, Wellington K. Guimarães Bastos. Orientadores: Mércia Albuquerque e Gizela Belluzo de Campos – A Casa Dentro da Porta

 

David Clark - 88 Constellations for Wittgenstein

 

Thais Paola Galvez, Josias Silva, Diego Abrahão Modesto, Nilson Benis, Vinicius Augusto Naka de Vasconcelos, Wilson Ruano Junior, Marcela Moreira da Silva. Orientadores: Paulo Costa e Mauricio Mazza – Rogério Caos

 

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 1/2

 

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez,Maryse Larivière, Marie-Josée Hardy, James Prior – Mês / My contacts

 

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Story teller

 

Fabian Antunes Silva – Pusada Recant Abaetuba

 

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre

 

Fernando Aquino – UAI-Justiça

 

Henry Gwiazda – claudia and paul

 

Henry Gwiazda – a doll`s house is……

 

Henry Gwiazda – there`s whispering......

 

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse

 

Isabel Margarida Aranda Mansilla – Cyber Birds Dance

 

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7

 

Jorb Ebner - sans femme et sans aviateur

 

Josephine Anstey e Dave Pape – Office Diva

 

Joshua Andrew Fishburn – Layers

 

Joshua Andrew Fishburn – Waiting

 

Joshua Andrew Fishburn – Peculiaris

 

Kevin Evensen – Veils of Light

 

lemeh42: santini michele e paoloni lorenza - Study on human form and humanity #01

 

Linda Hilfling Nielsen – misspelling generator

 

Lisa Link – If I worked for 493 years

 

Marcelo Padre – Estro

 

Martha Carrer Cruz Gabriel – Locative Painting

 

Martin John Callanan – I Wanted to See All of the News From Today

 

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura

 

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura – Homo ex Machina

 

Michael Takeo Magruder – Sequence-n (labyrinth)

 

Michael Takeo Magruder – Sequence-n (horizon)

 

Michael Takeo Magruder + Drew Baker + David Steele – The Vitruvian World

 

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary)

 

Nurit Bar-Shai – Nothing Happens

 

projectsinge: Blanquet jerome – Monkey_Party

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno – WATERCOLEUS PARK

 

rachelmauricio castro – 360

 

rachelmauricio castro – R.G.B.

 

rachelmauricio castro – tybushwacka

 

Rafael Rozendaal – future physics

 

Regina Célia Pinto – Ninhos e Magia

 

Ronaldo Ribeiro da Silva (Roni Ribeiro) – Bípedes

 

Rubens Pássaro – ISTO NÃO É PARANÓIA

 

Rui Filipe Antunes – xTNZ

 

Selcuk ARTUT & Cem OCALAN – NewsPaperBox

 

Stuart Pound – Dominat Culture

 

Stuart Pound – SF

 

Stuart Pound – Life on Mars

 

Susan Jowsey and Marcus Williams – The Trouble

 

Tanja Vujinovic – Osciloo

 

Weinberger Hannah – “Without Title”

   

CINEMA DOCUMENTA

 

Antonello Matarazzo – Interferenze

 

Bruno Natal - Dub Echoes

 

Carlo Sansolo - Panoramika Eletronika

 

Kevin Logan – Recitation

 

Kodiak Bachine e Apollo 9 – Nuncupate

 

Linda Hilfing Nielsen - Participation 0.0

 

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie

 

Matthew Bate - What The Future Sounded Like

 

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music

   

CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

  

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

Hipersônica Screening

 

Art Zoyd's: Amandine Top – EYECATCHER 1

 

Art Zoyd's: Amandine Top – EYECATCHER 2, Man with a movie câmera

 

Art Zoyd's: Amandine Top – Movie-Concert for The Fall of the Usher House

 

Flames aka Flames: Raphael Freire - Performance Audiovisual Sincronizada: Sociedade Pós-Moderna, Novas Tecnologias e Espaço Urbano

 

Celia Eid e Sébastien Béranger – Gymel

 

Duprass: Liora Belford e Ido Govrin – Free Field

 

Duprass: Liora Belford e Ido Govrin – Pink / Noise

 

Citrullo International: Carlo Hitermann – H2O

 

1mpar: Henrique Roscoe – HOL

 

Jay Needham - Narrative Half-life

 

Daniel Carvalho - butterbox – diving

 

Daniel Carvalho - OUT_FLOW PART I

 

Bernard Loibner – Meltdown

 

Soundsthatmatter – trotting

 

Soundsthatmatter – briji

 

Fernando Velázquez – Nómada

 

Bjorn Erik Haugen – Regress

 

Audiobeamers: Felipe Frozza - Paesaggi Liquidi II

 

David Muth - You Are The Sony Of My Life

 

Dennis Summers – Plase Shift Videos

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

   

FILE MEDIA ART

  

Agricola de Cologne: Bareback - serial DIScharge

 

Alan Bigelow: American Ghosts

 

Alan Bigelow: My Novel

 

Albertine Meunier: My Google Search History

 

Alex Hetherington: BLACK HOUSE/LIGHTS

 

Alison Clifford: The Sweet Old Etcetera

 

Anders Weberg and Robert Willim: Surreal Scania

 

André Arruda: Documentário poético não linear sobre uma rave em DVD

 

Andre Gonçalves: Serial Writer

 

Andrew Stern and Michael Mateas: Façade

 

Andy Deck: Panel Junction (2005, 2007)

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Stationary waves organic shape pattern .Cymatics

Standing waves intreference

toned b/w photograph

 

View On White

Train trails...

The Major Lunar Standstill - a real, visual representation

 

by Alister Ling and Luca Vanzella

 

UPDATE: This image was published as NASA Astronomy Picture of the Day!

 

UPDATE: This image was featured by PetaPixel in September 2025.

 

Celebrating the northeastern and southeastern extremes of sunrise points (solstices) are familiar experiences to all casual skywatchers but the moonrise extremes (lunistices) mostly go unnoticed except to attentive observers. As the Moon’s orbit slowly regresses in an 18.6 year cycle, the span of moonrise points varies between two extremes: the minor and major lunar standstills. In a major lunar standstill, the extreme moonrise points are several degrees farther north and south than the sunrise ones. Inspired by an earlier project of creating a time slice of sunrises, we wanted to capture these events photographically in a manner both educationally and visually compelling.

 

Technically the Major Lunar Standstill is a point in time on the dates of the extreme north and south lunar declinations, both occurring in March 2025, but similar to solstices, it is best appreciated in the context of a period of observation. Any consistent phase would reveal the pattern, but a full Moon is the most eye-catching and stands out best in very wide images.

 

The period from the June 2024 solstice to the June 2025 solstice nicely surrounds the standstill, so we planned to shoot thirteen full moonrises and thirteen sunrises during that interval. Inspired by an earlier project that created a vertical time slice of sunrises, we realized we could assemble a similar composite to show how the greatest northern and southern positions of the Moon extend beyond those of the Sun during a Major Lunar Standstill.

 

Planning the Project

 

The concept was simple: just capture evening moonrises and morning sunrises on the full Moon dates from the June 2024 solstice to the June 2025 solstice. However, years of shooting sunrises and moonrises in the Edmonton area had taught us two things:

 

One, it is possible to shoot thirteen consecutive sunrises spaced about a month apart within a few days of desired dates. Alberta is a sunny province and clear skies at sunrise are common. Plus, the sunrise azimuth changes only slightly from day to day, even at the equinoxes, and in these panoramic images it’s hardly noticeable.

 

Two, it is not possible to shoot thirteen consecutive full moonrises because the probability of a clear sky precisely a few minutes after moonrise on the exact date of a full Moon is perhaps 50%. Since the moonrise azimuth changes significantly from day to day, even shooting one day on either side of the target date puts the Moon out of place (especially at the extremes).

 

To maintain a high degree of authenticity, we came up with a plan to capture moonrises beforehand that could serve as proxies for the target moonrises that would be obscured by cloudy skies. Each substitute moonrise needed these attributes:

 

- Very similar moonrise azimuth (plus or minus 2°).

- Very similar moonrise time with respect to sunset (proxy for sky brightness).

- Very similar moonrise month (proxy for ground conditions).

- Very similar moon phase (full or plus or minus one day).

 

We examined the circumstances of every full or near full moonrise from January 2022 to May 2024 and selected those events that met the above attributes. This two and half year period is approximately the size of the lunistice period in which the extreme moonrise azimuths remain essentially the same (similar to solstice sunrise azimuths). We shot as many of these proxy moonrises as possible given our personal schedules and clear skies permitting.

 

Capturing the Images

 

At first we considered using a fisheye lens for the project, but at that image scale, the Moon’s size was only a few pixels across, resulting in a featureless blob when enlarged to a decent display dimension. A 10mm focal length lens could still resolve the key maria, presenting us with its recognizable face should we produce a poster-sized print. Consequently the field of view was too small to cover the full range in azimuth, forcing us to shoot two image panels which we would later stitch into panoramas.

 

For sunrises, each panel consisted of a 3x1EV bracket, for example 1/125, 1/250, 1/500 of a second. For moonrises, each panel consisted of a 6x2EV bracket (2, 1/2, 1/8, 1/30, 1/125, 1/500 second) to cover the enormous range of brightness from grass through sky to the sunlit Moon. For very dark moonrises, we could simplify by taking pre-rise images bracketed for sky and foreground lighting plus a second bracket exposed for the Moon and wispy clouds.

 

Since the sunrise azimuth over the course of a year is essentially the same year after year, we decided to capture the sunrises from January to December 2022, with two in June 2022, as close as possible to the dates of the target moonrises, and as expected, we were successful in capturing all 13 sunrises in consecutive months.

 

We shot 24 proxy moonrises from January 2022 to May 2024 and then all 13 target moonrises from June 2024 to June 2025.

 

Fun fact - we captured a total of 50 events: 24 proxy moonrises, 13 target moonrises, (5 had clear skies, 8 had cloudy skies), and 13 sunrises.

 

Processing the Images

 

The panorama brackets were stitched, fused and blended in Hugin. For the dark moonrises, the pre-rise brackets were stitched, fused and blended in Hugin while keeping the Moon panels separate but receiving the identical remapping to the equirectangular projection; then the final panorama was composited in GIMP.

 

Cosmetic edits were applied to erase hot and dead pixels and in some of the dark moonrise images, we erased construction floodlights in the foreground since these were distracting or might be confused with the Moon itself.

 

The goal was to have twenty six panoramas with virtually identical image frames. This would be important for the final composite image and for the movie animating the image.

 

For each session, no matter how careful we were, tiny shifts in camera placement and aim resulted in subtly different panorama frames, enough to be disturbing when lined up in our composite, especially at the seam. Every frame varied slightly in width, tilt, horizon skew and projection distortion. Even if we had avoided the need for panoramas by using a fisheye lens, we couldn’t prevent the mismatches at the center due to the sensitivity of the inherent distortion on position and aim. People really find it jarring when horizontal and edge features don’t line up.

 

One sunrise panorama was selected as the fixed, base image. All other panoramas were adjusted to match the base image with a four step process in GIMP: scale, align, rotate, and a cage transform to rectify nonlinear distortions. In the end we could overlay them to a precision of a handful of pixels.

 

Assembling the Final Composite

 

The principal result of this project is a vertical time slice of thirteen moonrise and thirteen sunrise images from June 2024 to June 2025, to visually depict the change in moonrise/sunrise position over a year and to illustrate that the greatest northern and southern positions of the Moon extend beyond those of the Sun during a Major Lunar Standstill.

 

Since we captured both sunrises and moonrises, we also produced two other images:

 

A vertical time slice of full moonrise positions over a year: Major Lunar Standstill - Moonrises

 

A vertical time slice of sunrise positions over a year: Major Lunar Standstill - Sunrises

 

The final assembly took place in GIMP by importing all moonrise and sunrise images into separate layers. These were aligned to the fixed, base sunrise image then cropped two different ways: narrow strips centered on the horizon for the final composite images, and larger rectangles that excluded edge artifacts for the movie.

 

Animating the Final Image

 

We also made a movie that animates the Major Lunar Standstill by showing the sequence of moonrise and sunrise images and how they were cropped and stacked to make the vertical time slices.

 

Conclusion

 

Had it been clear, you would have seen the Major Lunar Standstill similar to this. It might be argued that the final result is not “real” due to our use of proxies. True, but using cloudy panels hurt the educational value and acquiring a full set with clear skies, although theoretically possible, is practically speaking quite unlikely for sites in the mid-latitudes. Our image is one that observers can instantly relate to.

 

Image Acquisition

 

Camera: T3i / Canon 60D

Lens: Canon EF-S 10-18mm @ 10mm

Settings: ISO 200, Daylight WB, f/4.5

 

Sunrises: 3x1EV bracket, e.g.: 1/125, 1/250, 1/500 sec

Moonrises: 6x2EV bracket, e.g.: 2, 1/2, 1/8, 1/30, 1/125, 1/500 sec

 

Event Data

 

Here's the essential data from the 26 events. Each sunrise was planned to capture the Sun about 0.5° above the horizon, while each moonrise was planned to capture the Moon about 2.5° above the horizon.

 

Target Moonrise Moon D | Sunrise Sun D Date Actual Az Az | Actual Az Az

2024 06 21 2024 06 21 151.2 0.0 | 2022 06 19 46.6 -0.1

2024 07 21 2024 07 21 134.5 0.0 | 2022 07 21 52.7 0.2

2024 08 19 2022 08 12 118.5 1.1 | 2022 08 19 67.2 0.2

2024 09 17 2022 09 10 101.8 2.6 | 2022 09 17 85.3 0.4

2024 10 17 2024 10 17 69.5 0.0 | 2022 10 17 104.8 0.3

2024 11 15 2023 11 26 54.8 0.1 | 2022 11 14 120.6 0.8

2024 12 15 2023 11 28 44.9 1.4 | 2022 12 13 130.0 0.3

2025 01 13 2025 01 13 49.1 0.0 | 2022 01 16 125.4 1.0

2025 02 12 2025 02 17 71.1 0.0 | 2022 02 11 112.6 -0.7

2025 03 14 2023 04 05 101.6 3.8 | 2022 03 16 91.6 1.2

2025 04 12 2025 04 12 115.7 1.0 | 2022 04 11 74.6 -0.8

2025 05 12 2022 07 13 142.7 3.0 | 2022 05 12 57.0 -0.1

2025 06 11 2024 05 25 151.0 0.0 | 2022 06 12 47.1 0.1

 

Moon Az = Moonrise Azimuth

D Az = Delta from Target Moon Az (degrees)

Another image from my end of the year processing spree! I'm not entirely sure where the lion is in here, but it sure looks neat. I last shot this [back in 2021](live.staticflickr.com/65535/51615391757_0c11f94e5a_o.png), and overall I think this new go at it is a lot better color and noise wise. The region in the top left of the frame is incredibly rich in Oiii gas, which gives it a very distinct color difference from the rest of the nebula, despite not doing any kind of dynamic narrowband combination palettes. Captured over a shitload of nights from Sep-Nov, 2024 from a bortle 9 zone.

  

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**[Equipment:](i.imgur.com/kDRYMKi.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-290mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 65 hours 45 minutes (Camera at -15°C), unity gain

 

* Ha - 111x600"

 

* Oiii - 141x600"

 

* Sii - 130x600"

 

* R - 42x60"

 

* G - 42x60"

 

* B - 41x60"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight Preprocessing:**

 

* BatchPreProcessing

 

* StarAlignment

 

* Blink

 

* ImageIntegration per channel

 

* DrizzleIntegration (2x, Var β=1.5)

 

* Dynamic Crop

 

* DynamicBackgroundExtraction

 

> duplicated each image and removed stars via StarXterminator. Ran DBE with a shitload of points to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)

 

> $T * med(model) / model

 

**Narrowband Linear:**

 

* Blur and NoiseXTerminator

 

* StarXterminator to completely remove stars from each Ha, Oiii, and Sii image

 

* HistogramTransformation to stretch nonlinear

 

**Broadband/RGB stars linear:**

 

* ChannelCombination to make color image from R G and B stacks

 

* StarX (correct only)

 

* SpectrophotometricColorCalibration (narrowband working mode)

 

* HSV repair

 

* StarXterminator to extract a stars-only image (to be used going forward)

 

* arcsinhstretch

 

* scnr > invert > scnr > invert to remove greens and magentas

 

* HistogramTransformation

 

* (combined with starless pic later on)

 

**Nonlinear:**

 

* PixelMath to combine monochrome Ha Oiii and Sii images into a color image with SHO --> RGB, respectively

 

* HistogramTransformation to adjust red green and blue color channels separately (basically stretched R and B, and toned the G down some)

 

* Slight SCNR green

 

* NoiseXterminator

 

* LRGBCombination using stretched extracted L channel as luminance

 

* Shitloads of Curve Transformations to adjust lightness, hues, contrast, saturation, etc

 

* LocalHistogramEqualization (two rounds of this. one at kernel radius 16 for small scale detail, and one at 500 for large structures)

 

* More curves

 

* Pixelmath to add in the stretched RGB stars only image from earlier

 

> This basically re-linearizes the two images, adds them together, and then stretches them back to before. [More info on it here](www.nightphotons.com/guides/star-addition))

 

> mtf(.005,

 

> mtf(.995,Stars)+

 

> mtf(.995,Starless))

 

* guess what more curves

 

* DynamicCrop again (I fucked up the framing a lil and had a lot of empty space towards the bottom)

 

* Resample to 75%

 

* Annotation

A smectic liquid crystal forms a thin film, like a soap bubble. Here, we have such a film in an annular holder about 1 cm across. The variation in color comes from thickness variations. A voltage is applied between the inner and outer edge. The convection eventually produces a series of counter-rotating vortices whose speed increases as the voltage is increased.

 

Movie by Peter Kruse. Video by Stephen Morris.

See www.physics.utoronto.ca/nonlinear/papers_smectic.html

 

This target has always been a goal of mine since starting in this hobby. While the Flying Nebula (aka Sh2-129, all the red stuff), the Squid Nebula (aka OU4, the blue stuff) was only discovered in 2011. It's stupidly faint. Because of this, and my horrible light pollution, I had to get a *ton* of exposure time to bring it out, and ended up getting 110 hours total time on it. This is a combination of images taken through hydrogen-alpha and oxygen-iii filters for the nebulosity, plus RGB filters for true-color stars.

 

Captured over a shitload of nights from September to December, 2023. Broadband data from a Bortle 9 zone.

 

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**[Equipment:](i.imgur.com/ejpKkwU.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-290mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 110 hours 15 minutes (Camera at -15°C)

 

> BB exposures at half unity gain (76/15), Ha at unity gain (139/21)

 

* Ha - 212x600"

 

* Oiii - 428

 

* L - 200x120"

 

* R - 69x60" 69 71 66

 

* G - 71x60"

 

* B - 66x60"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight Preprocessing:**

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration per channel

 

* DrizzleIntegration (2x, Var β=1.5)

 

* Dynamic Crop

 

* DynamicBackgroundExtraction

 

> duplicated each image and removed stars via StarXterminator. Ran DBE with a shitload of points to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)

 

> $T * med(model) / model

 

**Narrowband Linear:

 

* Honestly just StarXterminator and EZ soft stretch to bring them nonlinear.

 

* Duplicated the Oiii before stretching to be used for advanced narrowband combination:

 

**Oiii advaned narrowband combination:**

 

> These steps largely follow the ones in Jimmy/[NightPhoton's advanced narrowband combination guide](www.nightphotons.com/guides/advanced-narrowband-combination).

 

* Combine Oiii with Green broadband channel channel (OGG palette)

 

* BackgroundNeutralization

 

* ColorCalibration

 

* StarXterminator to completely remove stars

 

* PixelMath to subtract green continuum spectrum, leaving just Oiii signal

 

* HistogramTransformation to stretch nonlinear

 

* NoiseXterminator + a little concolution

 

* CurvesTransformation to adjust black point/contrast

 

* Clone stamp to remove a couple background artifacts

 

* image saved as 'NB', to be combined later on in nonlinear processing

 

**RGB Linear:**

 

> this is really just to have natural star colors

 

* SpectroPhotometricColorCalibration

 

* BlurXTerminator

 

> Really loving the star correction with its new AI v4 update

 

* HSV Repair

 

* StarXterminator to make a stars-only image

 

* ArcsinhStretch + Histogram transformation to bring stars nonlinear

 

**Nonlinear processing:**

 

* Combined stretched Ha and Oiii images into a color image using ForaxX's HOO palette:

 

> R = Ha

 

> G= ((Oiii\*Ha)^~(Oiii\*Ha))\*Ha + ~((Oiii\*Ha)^(Oiii\*Ha))\*Oiii

 

> Oiii

 

* Background Neutralization

 

* Shitloads of Curve Transformation to adjust lightness, saturation, contrast, hues, etc with various masks

 

* LocalHistogramEqualization

 

* Added in NB image from earlier per the advanced narrowband guide

 

> only difference from the pixelmath in the guide is that I added NB to the green and blue channels (0.6 and 0.9, respectively) instead of red

 

* HistogramTransformation to adjust the black point

 

* More curves

 

* MLT for medium scale noise reduction in the squid

 

* ColorSaturation to slightly desaturate the red nebulas

 

* NoiseXterminator

 

* Even more curves

 

* Pixelmath to add in the stretched stars only image from earlier

 

> This basically re-linearizes the two images, adds them together, and then stretches them back to before

 

> (Jimmy is a processing wizard when it comes to writing up this [independent starless processing stuff](www.nightphotons.com/guides/star-addition))

 

> mtf(.005,

 

> mtf(.995,Stars)+

 

> mtf(.995,Starless))

 

* Guess what more curves

 

* Another round of NoiseXterminator

 

* MLT for some small scale chrominance noise reduction

 

* Few more slight ColorSaturation adjustments

 

* Resample to 60%

 

* Annotation

Captured on October 9th, 10th, and 17th, 2019 from a bortle 7 zone, and October 3rd and 5th, 2020 from a Bortle 6 zone.

 

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**[Equipment:](i.imgur.com/6T8QNsv.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120MC for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 13 hours 48 minutes (Camera at Unity Gain, -15°C)

 

* Ha- 49x360"

 

* Oiii- 59x360"

 

* Sii- 30x360"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu/) and PHD2 for guiding and dithering.

 

**PixInsight Processing:**

 

* BatchPreProcessing

 

* SubframeSelector

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration

 

* DrizzleIntegration (2x, VarK=1.5)

 

**Linear:**

 

* DynamicCrop

 

* AutomaticBackgroundExtraction

 

* [EZ Decon and Denoise](darkarchon.internet-box.ch:8443/) (Ha only)

 

* STF applied via HistogramTransformation to bring each channel nonlinear

  

**Combining Channels:**

 

* PixelMath to make classic SHO to RGB image

 

* Greens and magentas nuked using SCNR

 

* Pixelmath to make RGB image using [ForaxX's palette](thecoldestnights.com/2020/06/pixinsight-dynamic-narrowban...)

 

> R= (Oiii\^~Oiii)\*Sii + ~(Oiii\^~Oiii)\*Ha

 

> G= ((Oiii\*Ha)\^~(Oiii\*Ha))\*Ha + ~((Oiii\*Ha)\^~(Oiii\*Ha))\*Oiii

 

> B= Oiii

 

* Pixelmath to blend classic and ForaxX SHO images 50:50

 

**Nonlinear:**

 

* LRGBCombination with Ha as luminance

 

* Shitloads of [Curve](i.imgur.com/925gdct.jpg)Transformations to adjust lightness, saturation, contrast, hues, etc

 

* ACDNR

 

* LocalHistogramTransformation

 

* DarkStructureEnhance

 

* More curves

 

* EZ Star Reduction

 

* Resample to 75%

 

* Annotation

Beautiful shots from EVERSPACE.

 

Shot using Fraps and in-game Action Freeze cam. Bottom cropped (Beta Build and EVERSPACE logo).

 

Beta (1.1.28051) access is finally here !

 

Crowdfunded and from the makers of the iconic Galaxy on Fire series comes a new breed of space shooter for PC and Xbox One, combining roguelike elements with top-notch visuals and a captivating story.

 

everspace-game.com/

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CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

 

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

   

Cinema Documenta FILE São Paulo 2008

 

Antonello Matarazzo – Interferenze – Itália / Italy

Bruno Natal - Dub Echoes – Brasil / Brazil

Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil

Kevin Logan – Recitation – Londres / London

Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil

Linda Hilfing Nielsen - Participation 0.0 – Dinamarca

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany

Matthew Bate - What The Future Sounded Like – Austrália

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA

 

Mídia Arte FILE São Paulo 2008

 

[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA

Agricola de Cologne - One Day on Mars – Alemanha / Germany

alan bigelow - "When I Was President" – EUA / USA

Alessandra Ribeiro Parente Paes

Daniel Fernandes Gamez

Glauber Kotaki Rodrigues

Igor Albuquerque Bertolino

Karina Yuko Haneda

Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil

Alessandro Capozzo – Talea – Itália / Italy

Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon

Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil

Alexandre Cardoso Rodrigues Nunes

Bruno Coimbra Franco

Diego Filipe Braga R. Nascimento

Fábio Rinaldi Batistine

Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil

ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil

Andreas Zingerle - Extension of Human sight – Áustria

Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil

Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil

Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland

calin man – appendXship / Romênia

Carlindo da Conceição Barbosa

Kauê de Oliveira Souza

Guilherme Tetsuo Takei

Renato Michalischen

Ricardo Rodrigues Martins

Tassia Deusdara Manso

Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil

Christoph Korn – waldstueck – Alemanha / Germany

Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil

Duda. – do pixel ao pixel – Brasil / Brazil

Daniel Kobayashi

Felipe Crivelli Ayub

Fernando Boschetti

Luiz Felipe M. Coelho

Marcelo Knelsen

Mauro Falavigna

Rafael de A. Campos

Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil

David Clark - 88 Constellations for Wittgenstein – Canadá

Thais Paola Galvez

Josias Silva

Diego Abrahão Modesto

Nilson Benis

Vinicius Augusto Naka de Vasconcelos

Wilson Ruano Junior

Marcela Moreira da Silva – Rogério caos – Brasil / Brazil

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil

Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil

Fernando Aquino – UAI Justiça – Brasil / Brazil

Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan

Yto Aranda – Cyber Birds Dance – Chile

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA

Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon

Josephine Anstey, Dave Pape - Office Diva – EUA / USA

Josh Fishburn – Layers – Waiting – EUA / USA

Karla Brunet – Peculiaris – Brasil / Brazil

Kevin Evensen - Veils of Light – EUA / USA

lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy

linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark

Lisa Link - If I Worked for 493 years – EUA / USA

Marcelo Padre – Estro – Brasil / Brazil

Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil

Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil

Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon

Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon

Nurit Bar-Shai - Nothing Happens – EUA / USA

projectsinge: Blanquet Jerome - Monkey_Party – França / France

QUBO GAS - WATERCOULEUR PARK – França / France

rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil

Rafael Rozendaal - future physics – Netherlands

Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil

Roni Ribeiro – Bípedes – Brasil / Brazil

Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil

Rui Filipe Antunes – xTNZ – Brasil / Brazil

Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil

Tanja Vujinovic - "Without Title" – Switzerland

 

Hipersônica Screening – FILE São Paulo 2008

 

1mpar – hol – Brasil / Brazil

Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France

Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany

Bernhard Loibner – Meltdown – Áustria

Bjørn Erik Haugen – Regress - Norway

Celia Eid e Sébastien Béranger – Gymel – França / France

Studio Brutus/Citrullo International - H2O – Itália / Italy

Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil

David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon

Dennis Summers - Phase Shift Vídeos – EUA / USA

Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel

Fernando Velázquez – Nómada – Brasil / Brazil

Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil

Frederico Pessoa - butterbox – diving - Brasil / Brazil

Jay Needham - Narrative Half-life – EUA / USA

Soundsthatmatter – trotting – briji – Brasil / Brazil

x

“...are you still reading this, or are you about to click on another link?...We need to be both pond-skaters and scuba divers. We need to master the ability to access facts while reserving time and space to do something meaningful with them.”

 

Andrew Sullivan (The Times) on the “pond-skater minds” the nonlinear nature of the web is giving us, where deep, calm and serious thinking is replaced with a pernicious craving for distraction and multi-tasking.

 

www.timesonline.co.uk/tol/comment/columnists/andrew_sulli...

 

Also links to something I said here: will-lion.blogspot.com/2008/03/not-nowoh-why-not.html

x

MIDIA ARTE / MEDIA ART

 

[fladry + jones]: Robb Fladry and Barry Jones – The War is Over 2007

 

Agricola de Cologne – One Day on Mars

 

Alan Bigelow – “When I Was President”

 

Alessandra Ribeiro Parente Paes, Daniel Fernandes Gamez, Glauber Kotaki Rodrigues, Igor Albuquerque Bertolino, Karina Yuko Haneda, Marcio Pedrosa Tirico da Silva Junior. Orientadores: Mércia Albuquerque e Mauro Baptista – Reativo

 

Alessandro Capozzo – Talea

 

Alex Hetherington – Untitled (sexback, folly artist)

 

Alexandre Campos, Bruno Massara e Lucilene Soares Alves – Novos Olhares sobre a Mobilidade

 

Alexandre Cardoso Rodrigues Nunes, Bruno Coimbra Franco, Diego Filipe Braga R. Nascimento, Fábio Rinaldi Batistine, Yumi Dayane Shimada. Orientadores: Mércia Albuquerque e Carlos Alberto Barbosa – Abra Sua Gaveta

 

All: Alcione de Godoy, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Machina

 

Andreas Zingerele – Extension of Human Sight

 

Andrei R. Thomaz – O Tabuleiro dos Jogos que se bifurcam

 

Andrei R. Thomaz – First Person Movements

 

Andrei R. Thomaz e Marina Camargo – Eclipses

 

Brit Bunkley – Eclipses

 

Brit Bunkley – Spin

 

cali man – appendXship

 

Carlindo da Conceição Barbosa, Kauê de Oliveira Souza, Guilherme Tetsuo Takei, Renato Michalischen, Ricardo Rodrigues Martins, Tassia Deusdara Manso, Thalyta de Almeida Barbosa.

Orientadores: Mauricio Mazza e Carlos Alberto Barbosa – Da Música ao Caos

 

Christoph Korn – waldstueck

 

Corpos Informáticos: Bia Medeiros – UAI 69

 

Daniel Duda – do pixel ao pixel

 

Daniel Kobayashi, Felipe Crivelli Ayub, Fernando Boschetti, Luiz Felipe M. Coelho, Marcelo Knelsen, Mauro Falavigna, Rafael de A. Campos, Wellington K. Guimarães Bastos. Orientadores: Mércia Albuquerque e Gizela Belluzo de Campos – A Casa Dentro da Porta

 

David Clark - 88 Constellations for Wittgenstein

 

Thais Paola Galvez, Josias Silva, Diego Abrahão Modesto, Nilson Benis, Vinicius Augusto Naka de Vasconcelos, Wilson Ruano Junior, Marcela Moreira da Silva. Orientadores: Paulo Costa e Mauricio Mazza – Rogério Caos

 

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 1/2

 

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez,Maryse Larivière, Marie-Josée Hardy, James Prior – Mês / My contacts

 

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Story teller

 

Fabian Antunes Silva – Pusada Recant Abaetuba

 

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre

 

Fernando Aquino – UAI-Justiça

 

Henry Gwiazda – claudia and paul

 

Henry Gwiazda – a doll`s house is……

 

Henry Gwiazda – there`s whispering......

 

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse

 

Isabel Margarida Aranda Mansilla – Cyber Birds Dance

 

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7

 

Jorb Ebner - sans femme et sans aviateur

 

Josephine Anstey e Dave Pape – Office Diva

 

Joshua Andrew Fishburn – Layers

 

Joshua Andrew Fishburn – Waiting

 

Joshua Andrew Fishburn – Peculiaris

 

Kevin Evensen – Veils of Light

 

lemeh42: santini michele e paoloni lorenza - Study on human form and humanity #01

 

Linda Hilfling Nielsen – misspelling generator

 

Lisa Link – If I worked for 493 years

 

Marcelo Padre – Estro

 

Martha Carrer Cruz Gabriel – Locative Painting

 

Martin John Callanan – I Wanted to See All of the News From Today

 

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura

 

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura – Homo ex Machina

 

Michael Takeo Magruder – Sequence-n (labyrinth)

 

Michael Takeo Magruder – Sequence-n (horizon)

 

Michael Takeo Magruder + Drew Baker + David Steele – The Vitruvian World

 

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary)

 

Nurit Bar-Shai – Nothing Happens

 

projectsinge: Blanquet jerome – Monkey_Party

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno – WATERCOLEUS PARK

 

rachelmauricio castro – 360

 

rachelmauricio castro – R.G.B.

 

rachelmauricio castro – tybushwacka

 

Rafael Rozendaal – future physics

 

Regina Célia Pinto – Ninhos e Magia

 

Ronaldo Ribeiro da Silva (Roni Ribeiro) – Bípedes

 

Rubens Pássaro – ISTO NÃO É PARANÓIA

 

Rui Filipe Antunes – xTNZ

 

Selcuk ARTUT & Cem OCALAN – NewsPaperBox

 

Stuart Pound – Dominat Culture

 

Stuart Pound – SF

 

Stuart Pound – Life on Mars

 

Susan Jowsey and Marcus Williams – The Trouble

 

Tanja Vujinovic – Osciloo

 

Weinberger Hannah – “Without Title”

   

CINEMA DOCUMENTA

 

Antonello Matarazzo – Interferenze

 

Bruno Natal - Dub Echoes

 

Carlo Sansolo - Panoramika Eletronika

 

Kevin Logan – Recitation

 

Kodiak Bachine e Apollo 9 – Nuncupate

 

Linda Hilfing Nielsen - Participation 0.0

 

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie

 

Matthew Bate - What The Future Sounded Like

 

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music

   

CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

  

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

Hipersônica Screening

 

Art Zoyd's: Amandine Top – EYECATCHER 1

 

Art Zoyd's: Amandine Top – EYECATCHER 2, Man with a movie câmera

 

Art Zoyd's: Amandine Top – Movie-Concert for The Fall of the Usher House

 

Flames aka Flames: Raphael Freire - Performance Audiovisual Sincronizada: Sociedade Pós-Moderna, Novas Tecnologias e Espaço Urbano

 

Celia Eid e Sébastien Béranger – Gymel

 

Duprass: Liora Belford e Ido Govrin – Free Field

 

Duprass: Liora Belford e Ido Govrin – Pink / Noise

 

Citrullo International: Carlo Hitermann – H2O

 

1mpar: Henrique Roscoe – HOL

 

Jay Needham - Narrative Half-life

 

Daniel Carvalho - butterbox – diving

 

Daniel Carvalho - OUT_FLOW PART I

 

Bernard Loibner – Meltdown

 

Soundsthatmatter – trotting

 

Soundsthatmatter – briji

 

Fernando Velázquez – Nómada

 

Bjorn Erik Haugen – Regress

 

Audiobeamers: Felipe Frozza - Paesaggi Liquidi II

 

David Muth - You Are The Sony Of My Life

 

Dennis Summers – Plase Shift Videos

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

x

x

MIDIA ARTE / MEDIA ART

 

[fladry + jones]: Robb Fladry and Barry Jones – The War is Over 2007

 

Agricola de Cologne – One Day on Mars

 

Alan Bigelow – “When I Was President”

 

Alessandra Ribeiro Parente Paes, Daniel Fernandes Gamez, Glauber Kotaki Rodrigues, Igor Albuquerque Bertolino, Karina Yuko Haneda, Marcio Pedrosa Tirico da Silva Junior. Orientadores: Mércia Albuquerque e Mauro Baptista – Reativo

 

Alessandro Capozzo – Talea

 

Alex Hetherington – Untitled (sexback, folly artist)

 

Alexandre Campos, Bruno Massara e Lucilene Soares Alves – Novos Olhares sobre a Mobilidade

 

Alexandre Cardoso Rodrigues Nunes, Bruno Coimbra Franco, Diego Filipe Braga R. Nascimento, Fábio Rinaldi Batistine, Yumi Dayane Shimada. Orientadores: Mércia Albuquerque e Carlos Alberto Barbosa – Abra Sua Gaveta

 

All: Alcione de Godoy, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Machina

 

Andreas Zingerele – Extension of Human Sight

 

Andrei R. Thomaz – O Tabuleiro dos Jogos que se bifurcam

 

Andrei R. Thomaz – First Person Movements

 

Andrei R. Thomaz e Marina Camargo – Eclipses

 

Brit Bunkley – Eclipses

 

Brit Bunkley – Spin

 

cali man – appendXship

 

Carlindo da Conceição Barbosa, Kauê de Oliveira Souza, Guilherme Tetsuo Takei, Renato Michalischen, Ricardo Rodrigues Martins, Tassia Deusdara Manso, Thalyta de Almeida Barbosa.

Orientadores: Mauricio Mazza e Carlos Alberto Barbosa – Da Música ao Caos

 

Christoph Korn – waldstueck

 

Corpos Informáticos: Bia Medeiros – UAI 69

 

Daniel Duda – do pixel ao pixel

 

Daniel Kobayashi, Felipe Crivelli Ayub, Fernando Boschetti, Luiz Felipe M. Coelho, Marcelo Knelsen, Mauro Falavigna, Rafael de A. Campos, Wellington K. Guimarães Bastos. Orientadores: Mércia Albuquerque e Gizela Belluzo de Campos – A Casa Dentro da Porta

 

David Clark - 88 Constellations for Wittgenstein

 

Thais Paola Galvez, Josias Silva, Diego Abrahão Modesto, Nilson Benis, Vinicius Augusto Naka de Vasconcelos, Wilson Ruano Junior, Marcela Moreira da Silva. Orientadores: Paulo Costa e Mauricio Mazza – Rogério Caos

 

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 1/2

 

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez,Maryse Larivière, Marie-Josée Hardy, James Prior – Mês / My contacts

 

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Story teller

 

Fabian Antunes Silva – Pusada Recant Abaetuba

 

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre

 

Fernando Aquino – UAI-Justiça

 

Henry Gwiazda – claudia and paul

 

Henry Gwiazda – a doll`s house is……

 

Henry Gwiazda – there`s whispering......

 

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse

 

Isabel Margarida Aranda Mansilla – Cyber Birds Dance

 

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7

 

Jorb Ebner - sans femme et sans aviateur

 

Josephine Anstey e Dave Pape – Office Diva

 

Joshua Andrew Fishburn – Layers

 

Joshua Andrew Fishburn – Waiting

 

Joshua Andrew Fishburn – Peculiaris

 

Kevin Evensen – Veils of Light

 

lemeh42: santini michele e paoloni lorenza - Study on human form and humanity #01

 

Linda Hilfling Nielsen – misspelling generator

 

Lisa Link – If I worked for 493 years

 

Marcelo Padre – Estro

 

Martha Carrer Cruz Gabriel – Locative Painting

 

Martin John Callanan – I Wanted to See All of the News From Today

 

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura

 

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura – Homo ex Machina

 

Michael Takeo Magruder – Sequence-n (labyrinth)

 

Michael Takeo Magruder – Sequence-n (horizon)

 

Michael Takeo Magruder + Drew Baker + David Steele – The Vitruvian World

 

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary)

 

Nurit Bar-Shai – Nothing Happens

 

projectsinge: Blanquet jerome – Monkey_Party

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno – WATERCOLEUS PARK

 

rachelmauricio castro – 360

 

rachelmauricio castro – R.G.B.

 

rachelmauricio castro – tybushwacka

 

Rafael Rozendaal – future physics

 

Regina Célia Pinto – Ninhos e Magia

 

Ronaldo Ribeiro da Silva (Roni Ribeiro) – Bípedes

 

Rubens Pássaro – ISTO NÃO É PARANÓIA

 

Rui Filipe Antunes – xTNZ

 

Selcuk ARTUT & Cem OCALAN – NewsPaperBox

 

Stuart Pound – Dominat Culture

 

Stuart Pound – SF

 

Stuart Pound – Life on Mars

 

Susan Jowsey and Marcus Williams – The Trouble

 

Tanja Vujinovic – Osciloo

 

Weinberger Hannah – “Without Title”

   

CINEMA DOCUMENTA

 

Antonello Matarazzo – Interferenze

 

Bruno Natal - Dub Echoes

 

Carlo Sansolo - Panoramika Eletronika

 

Kevin Logan – Recitation

 

Kodiak Bachine e Apollo 9 – Nuncupate

 

Linda Hilfing Nielsen - Participation 0.0

 

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie

 

Matthew Bate - What The Future Sounded Like

 

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music

   

CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

  

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

Hipersônica Screening

 

Art Zoyd's: Amandine Top – EYECATCHER 1

 

Art Zoyd's: Amandine Top – EYECATCHER 2, Man with a movie câmera

 

Art Zoyd's: Amandine Top – Movie-Concert for The Fall of the Usher House

 

Flames aka Flames: Raphael Freire - Performance Audiovisual Sincronizada: Sociedade Pós-Moderna, Novas Tecnologias e Espaço Urbano

 

Celia Eid e Sébastien Béranger – Gymel

 

Duprass: Liora Belford e Ido Govrin – Free Field

 

Duprass: Liora Belford e Ido Govrin – Pink / Noise

 

Citrullo International: Carlo Hitermann – H2O

 

1mpar: Henrique Roscoe – HOL

 

Jay Needham - Narrative Half-life

 

Daniel Carvalho - butterbox – diving

 

Daniel Carvalho - OUT_FLOW PART I

 

Bernard Loibner – Meltdown

 

Soundsthatmatter – trotting

 

Soundsthatmatter – briji

 

Fernando Velázquez – Nómada

 

Bjorn Erik Haugen – Regress

 

Audiobeamers: Felipe Frozza - Paesaggi Liquidi II

 

David Muth - You Are The Sony Of My Life

 

Dennis Summers – Plase Shift Videos

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

   

FILE MEDIA ART

  

Agricola de Cologne: Bareback - serial DIScharge

 

Alan Bigelow: American Ghosts

 

Alan Bigelow: My Novel

 

Albertine Meunier: My Google Search History

 

Alex Hetherington: BLACK HOUSE/LIGHTS

 

Alison Clifford: The Sweet Old Etcetera

 

Anders Weberg and Robert Willim: Surreal Scania

 

André Arruda: Documentário poético não linear sobre uma rave em DVD

 

Andre Gonçalves: Serial Writer

 

Andrew Stern and Michael Mateas: Façade

 

Andy Deck: Panel Junction (2005, 2007)

x

x

CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

 

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

   

Cinema Documenta FILE São Paulo 2008

 

Antonello Matarazzo – Interferenze – Itália / Italy

Bruno Natal - Dub Echoes – Brasil / Brazil

Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil

Kevin Logan – Recitation – Londres / London

Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil

Linda Hilfing Nielsen - Participation 0.0 – Dinamarca

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany

Matthew Bate - What The Future Sounded Like – Austrália

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA

 

Mídia Arte FILE São Paulo 2008

 

[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA

Agricola de Cologne - One Day on Mars – Alemanha / Germany

alan bigelow - "When I Was President" – EUA / USA

Alessandra Ribeiro Parente Paes

Daniel Fernandes Gamez

Glauber Kotaki Rodrigues

Igor Albuquerque Bertolino

Karina Yuko Haneda

Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil

Alessandro Capozzo – Talea – Itália / Italy

Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon

Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil

Alexandre Cardoso Rodrigues Nunes

Bruno Coimbra Franco

Diego Filipe Braga R. Nascimento

Fábio Rinaldi Batistine

Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil

ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil

Andreas Zingerle - Extension of Human sight – Áustria

Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil

Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil

Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland

calin man – appendXship / Romênia

Carlindo da Conceição Barbosa

Kauê de Oliveira Souza

Guilherme Tetsuo Takei

Renato Michalischen

Ricardo Rodrigues Martins

Tassia Deusdara Manso

Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil

Christoph Korn – waldstueck – Alemanha / Germany

Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil

Duda. – do pixel ao pixel – Brasil / Brazil

Daniel Kobayashi

Felipe Crivelli Ayub

Fernando Boschetti

Luiz Felipe M. Coelho

Marcelo Knelsen

Mauro Falavigna

Rafael de A. Campos

Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil

David Clark - 88 Constellations for Wittgenstein – Canadá

Thais Paola Galvez

Josias Silva

Diego Abrahão Modesto

Nilson Benis

Vinicius Augusto Naka de Vasconcelos

Wilson Ruano Junior

Marcela Moreira da Silva – Rogério caos – Brasil / Brazil

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil

Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil

Fernando Aquino – UAI Justiça – Brasil / Brazil

Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan

Yto Aranda – Cyber Birds Dance – Chile

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA

Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon

Josephine Anstey, Dave Pape - Office Diva – EUA / USA

Josh Fishburn – Layers – Waiting – EUA / USA

Karla Brunet – Peculiaris – Brasil / Brazil

Kevin Evensen - Veils of Light – EUA / USA

lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy

linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark

Lisa Link - If I Worked for 493 years – EUA / USA

Marcelo Padre – Estro – Brasil / Brazil

Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil

Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil

Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon

Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon

Nurit Bar-Shai - Nothing Happens – EUA / USA

projectsinge: Blanquet Jerome - Monkey_Party – França / France

QUBO GAS - WATERCOULEUR PARK – França / France

rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil

Rafael Rozendaal - future physics – Netherlands

Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil

Roni Ribeiro – Bípedes – Brasil / Brazil

Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil

Rui Filipe Antunes – xTNZ – Brasil / Brazil

Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil

Tanja Vujinovic - "Without Title" – Switzerland

 

Hipersônica Screening – FILE São Paulo 2008

 

1mpar – hol – Brasil / Brazil

Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France

Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany

Bernhard Loibner – Meltdown – Áustria

Bjørn Erik Haugen – Regress - Norway

Celia Eid e Sébastien Béranger – Gymel – França / France

Studio Brutus/Citrullo International - H2O – Itália / Italy

Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil

David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon

Dennis Summers - Phase Shift Vídeos – EUA / USA

Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel

Fernando Velázquez – Nómada – Brasil / Brazil

Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil

Frederico Pessoa - butterbox – diving - Brasil / Brazil

Jay Needham - Narrative Half-life – EUA / USA

Soundsthatmatter – trotting – briji – Brasil / Brazil

x

x

CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

 

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

   

Cinema Documenta FILE São Paulo 2008

 

Antonello Matarazzo – Interferenze – Itália / Italy

Bruno Natal - Dub Echoes – Brasil / Brazil

Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil

Kevin Logan – Recitation – Londres / London

Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil

Linda Hilfing Nielsen - Participation 0.0 – Dinamarca

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany

Matthew Bate - What The Future Sounded Like – Austrália

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA

 

Mídia Arte FILE São Paulo 2008

 

[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA

Agricola de Cologne - One Day on Mars – Alemanha / Germany

alan bigelow - "When I Was President" – EUA / USA

Alessandra Ribeiro Parente Paes

Daniel Fernandes Gamez

Glauber Kotaki Rodrigues

Igor Albuquerque Bertolino

Karina Yuko Haneda

Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil

Alessandro Capozzo – Talea – Itália / Italy

Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon

Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil

Alexandre Cardoso Rodrigues Nunes

Bruno Coimbra Franco

Diego Filipe Braga R. Nascimento

Fábio Rinaldi Batistine

Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil

ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil

Andreas Zingerle - Extension of Human sight – Áustria

Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil

Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil

Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland

calin man – appendXship / Romênia

Carlindo da Conceição Barbosa

Kauê de Oliveira Souza

Guilherme Tetsuo Takei

Renato Michalischen

Ricardo Rodrigues Martins

Tassia Deusdara Manso

Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil

Christoph Korn – waldstueck – Alemanha / Germany

Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil

Duda. – do pixel ao pixel – Brasil / Brazil

Daniel Kobayashi

Felipe Crivelli Ayub

Fernando Boschetti

Luiz Felipe M. Coelho

Marcelo Knelsen

Mauro Falavigna

Rafael de A. Campos

Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil

David Clark - 88 Constellations for Wittgenstein – Canadá

Thais Paola Galvez

Josias Silva

Diego Abrahão Modesto

Nilson Benis

Vinicius Augusto Naka de Vasconcelos

Wilson Ruano Junior

Marcela Moreira da Silva – Rogério caos – Brasil / Brazil

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil

Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil

Fernando Aquino – UAI Justiça – Brasil / Brazil

Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan

Yto Aranda – Cyber Birds Dance – Chile

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA

Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon

Josephine Anstey, Dave Pape - Office Diva – EUA / USA

Josh Fishburn – Layers – Waiting – EUA / USA

Karla Brunet – Peculiaris – Brasil / Brazil

Kevin Evensen - Veils of Light – EUA / USA

lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy

linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark

Lisa Link - If I Worked for 493 years – EUA / USA

Marcelo Padre – Estro – Brasil / Brazil

Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil

Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil

Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon

Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon

Nurit Bar-Shai - Nothing Happens – EUA / USA

projectsinge: Blanquet Jerome - Monkey_Party – França / France

QUBO GAS - WATERCOULEUR PARK – França / France

rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil

Rafael Rozendaal - future physics – Netherlands

Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil

Roni Ribeiro – Bípedes – Brasil / Brazil

Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil

Rui Filipe Antunes – xTNZ – Brasil / Brazil

Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil

Tanja Vujinovic - "Without Title" – Switzerland

 

Hipersônica Screening – FILE São Paulo 2008

 

1mpar – hol – Brasil / Brazil

Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France

Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany

Bernhard Loibner – Meltdown – Áustria

Bjørn Erik Haugen – Regress - Norway

Celia Eid e Sébastien Béranger – Gymel – França / France

Studio Brutus/Citrullo International - H2O – Itália / Italy

Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil

David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon

Dennis Summers - Phase Shift Vídeos – EUA / USA

Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel

Fernando Velázquez – Nómada – Brasil / Brazil

Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil

Frederico Pessoa - butterbox – diving - Brasil / Brazil

Jay Needham - Narrative Half-life – EUA / USA

Soundsthatmatter – trotting – briji – Brasil / Brazil

x

The Eiffel Tower (French: La Tour Eiffel, nickname La dame de fer, the iron lady) is an iron lattice tower located on the Champ de Mars in Paris, named after the engineer Gustave Eiffel, whose company designed and built the tower. Erected in 1889 as the entrance arch to the 1889 World's Fair, it has become both a global cultural icon of France and one of the most recognizable structures in the world. The tower is the tallest structure in Paris and the most-visited paid monument in the world; 7.1 million people ascended it in 2011. The third level observatory's upper platform is at 279.11 m the highest accessible to public in the European Union and the highest in Europe as long as the platform of the Ostankino Tower, at 360 m, remains closed as a result of the fire of August 2000. The tower received its 250 millionth visitor in 2010.

The tower stands 320 metres (1,050 ft) tall, about the same height as an 81-storey building. During its construction, the Eiffel Tower surpassed the Washington Monument to assume the title of the tallest man-made structure in the world, a title it held for 41 years, until the Chrysler Building in New York City was built in 1930. However, because of the addition, in 1957, of the antenna atop the Eiffel Tower, it is now taller than the Chrysler Building. Not including broadcast antennas, it is the second-tallest structure in France, after the Millau Viaduct.

The tower has three levels for visitors. Tickets can be purchased to ascend, by stairs or lift (elevator), to the first and second levels. The walk from ground level to the first level is over 300 steps, as is the walk from the first to the second level. The third and highest level is accessible only by lift - stairs exist but they are not usually open for public use. Both the first and second levels feature restaurants.

The tower has become the most prominent symbol of both Paris and France, often in the establishing shot of films set in the city.

 

History

 

Origin

  

First drawing of the Eiffel Tower by Maurice Koechlin

The design of the Eiffel Tower was originated by Maurice Koechlin and Émile Nouguier, two senior engineers who worked for the Compagnie des Establissments Eiffel after discussion about a suitable centrepiece for the proposed 1889 Exposition Universelle, a World's Fair which would celebrate the centennial of the French Revolution. In May 1884 Koechlin, working at his home, made an outline drawing of their scheme, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals". Initially Eiffel himself showed little enthusiasm, but he did sanction further study of the project, and the two engineers then asked Stephen Sauvestre, the head of company's architectural department, to contribute to the design. Sauvestre added decorative arches to the base, a glass pavilion to the first level and other embellishments. This enhanced version gained Eiffel's support, and he bought the rights to the patent on the design which Koechlin, Nougier and Sauvestre had taken out, and the design was exhibited at the Exhibition of Decorative Arts in the autumn of 1884 under the company name. On 30 March 1885 Eiffel read a paper on the project to the Société des Ingiénieurs Civils: after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying that the tower would symbolise "not only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude."

Little happened until the beginning of 1886, when Jules Grévy was re-elected as President and Édouard Lockroy was appointed as Minister for Trade. A budget for the Exposition was passed and on 1 May Lockroy announced an alteration to the terms of the open competition which was being held for a centerpiece for the exposition, which effectively made the choice of Eiffel's design a foregone conclusion: all entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars. On 12 May a commission was set up to examine Eiffel's scheme and its rivals and on 12 June it presented its decision, which was that all the proposals except Eiffel's were either impractical or insufficiently worked out. After some debate about the exact site for the tower, a contract was finally signed on 8 January 1887. This was signed by Eiffel acting in his own capacity rather than as the representative of his company, and granted him one and a half million francs toward the construction costs: less than a quarter of the estimated cost of six and a half million francs. Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the following twenty years. Eiffel later established a separate company to manage the tower, putting up half the necessary capital himself.

 

The "Artists Protest"

 

Caricature of Gustave Eiffel comparing the Eiffel tower to the Pyramids.

The projected tower had been a subject of some controversy, attracting criticism both from those who did not believe that it was feasible and also from those who objected on artistic grounds. Their objections were an expression of a longstanding debate about relationship between architecture and engineering. This came to a head as work began at the Champ de Mars: A "Committee of Three Hundred" (one member for each metre of the tower's height) was formed, led by the prominent architect Charles Garnier and including some of the most important figures of the French arts establishment, including Adolphe Bouguereau, Guy de Maupassant, Charles Gounod and Jules Massenet: a petition was sent to Charles Alphand, the Minister of Works and Commissioner for the Exposition, and was published by Le Temps.

"We, writers, painters, sculptors, architects and passionate devotees of the hitherto untouched beauty of Paris, protest with all our strength, with all our indignation in the name of slighted French taste, against the erection…of this useless and monstrous Eiffel Tower … To bring our arguments home, imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream. And for twenty years … we shall see stretching like a blot of ink the hateful shadow of the hateful column of bolted sheet metal"

Gustave Eiffel responded to these criticisms by comparing his tower to the Egyptian Pyramids : "My tower will be the tallest edifice ever erected by man. Will it not also be grandiose in its way ? And why would something admirable in Egypt become hideous and ridiculous in Paris ?" These criticisms were also masterfully dealt with by Édouard Lockroy in a letter of support written to Alphand, ironically saying "Judging by the stately swell of the rhythms, the beauty of the metaphors, the elegance of its delicate and precise style, one can tell that …this protest is the result of collaboration of the most famous writers and poets of our time", and going on to point out that the protest was irrelevant since the project had been decided upon months before and was already under construction. Indeed, Garnier had been a member of the Tower Commission that had assessed the various proposals, and had raised no objection. Eiffel was similarly unworried, pointing out to a journalist that it was premature to judge the effect of the tower solely on the basis of the drawings, that the Champ de Mars was distant enough from the monuments mentioned in the protest for there to be little risk of the tower overwhelming them, and putting the aesthetic argument for the Tower: "Do not the laws of natural forces always conform to the secret laws of harmony?"

Some of the protestors were to change their minds when the tower was built: others remained unconvinced. Guy de Maupassant[20] supposedly ate lunch in the Tower's restaurant every day. When asked why, he answered that it was the one place in Paris where one could not see the structure. Today, the Tower is widely considered to be a striking piece of structural art.

  

Construction

 

Foundations of the Eiffel Tower

  

Eiffel Tower under construction between 1887 and 1889

Work on the foundations started in January 1887. Those for the east and south legs were straightforward, each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg but the other two, being closer to the river Seine were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft)[21] to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a block built of limestone each with an inclined top to bear a supporting shoe for the ironwork. Each shoe was anchored into the stonework by a pair of bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. The foundations were complete by 30 June and the erection of the ironwork began. The very visible work on-site was complemented by the enormous amount of exacting preparatory work that was entailed: the drawing office produced 1,700 general drawings and 3,629 detailed drawings of the 18,038 different parts needed:

The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the position of rivet holes was specified to within 0.1 mm (0.04 in) and angles worked out to one second of arc. The finished components, some already riveted together into sub-assemblies, arrived on horse-drawn carts from the factory in the nearby Parisian suburb of Levallois-Perret and were first bolted together, the bolts being replaced by rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit it was sent back to the factory for alteration. In all there were 18,038 pieces of puddle iron using two and a half million rivets.

At first the legs were constructed as cantilevers but about halfway to the first level construction was paused in order to construct a substantial timber scaffold. This caused a renewal of the concerns about the structural soundness of the project, and sensational headlines such as "Eiffel Suicide!" and "Gustave Eiffel has gone mad: he has been confined in an Asylum" appeared in the popular press. At this stage a small "creeper" crane was installed in each leg, designed to move up the tower as construction progressed and making use of the guides for the lifts which were to be fitted in each leg. The critical stage of joining the four legs at the first level was complete by March 1888. Although the metalwork had been prepared with the utmost precision, provision had been made to carry out small adjustments in order to precisely align the legs: hydraulic jacks were fitted to the shoes at the base of each leg, each capable of exerting a force of 800 tonnes, and in addition the legs had been intentionally constructed at a slightly steeper angle than necessary, being supported by sandboxes on the scaffold.

No more than three hundred workers were employed on site, and because Eiffel took safety precautions, including the use of movable stagings, guard-rails and screens, only one man died during construction.

  

Inauguration and the 1889 Exposition

 

The 1889 Exposition Universelle for which the Eiffel Tower was built

The main structural work was completed at the end of March 1889 and on the 31st Eiffel celebrated this by leading a group of government officials, accompanied by representatives of the press, to the top of the tower. Since the lifts were not yet in operation, the ascent was made by foot, and took over an hour, Eiffel frequently stopping to make explanations of various features. Most of the party chose to stop at the lower levels, but a few, including Nouguier, Compagnon, the President of the City Council and reporters from Le Figaro and Le Monde Illustré completed the climb. At 2.35 Eiffel hoisted a large tricolore, to the accompaniment of a 25-gun salute fired from the lower level. There was still work to be done, particularly on the lifts and the fitting out of the facilities for visitors, and the tower was not opened to the public until nine days after the opening of the Exposition on 6 May, and even then the lifts had not been completed.

The tower was an immediate success with the public, and lengthy queues formed to make the ascent. Tickets cost 2 francs for the first level, 3 for the second and 5 for the top, with half-price admission on Sundays, and by the end of the exhibition there had been nearly two million visitors.

Eiffel had a permit for the tower to stand for 20 years; it was to be dismantled in 1909, when its ownership would revert to the City of Paris. The City had planned to tear it down (part of the original contest rules for designing a tower was that it could be easily demolished) but as the tower proved valuable for communication purposes, it was allowed to remain after the expiry of the permit. In the opening weeks of the First World War the powerful radio transmitters using the tower were used to jam German communications, seriously hindering their advance on Paris and contributing to the Allied victory at the First Battle of the Marne.

 

Subsequent events

 

10 September 1889 Thomas Edison visited the tower. He signed the guestbook with the following message— To M Eiffel the Engineer the brave builder of so gigantic and original specimen of modern Engineering from one who has the greatest respect and admiration for all Engineers including the Great Engineer the Bon Dieu, Thomas Edison.

 

19 October 1901 Alberto Santos-Dumont in his Dirigible No.6 won a 10,000-franc prize offered by Henri Deutsch de la Meurthe for the first person to make a flight from St Cloud to the Eiffel tower and back in less than half an hour.

 

1910 Father Theodor Wulf measured radiant energy at the top and bottom of the tower. He found more at the top than expected, incidentally discovering what are today known as cosmic rays.[28]

 

4 February 1912 Austrian tailor Franz Reichelt died after jumping 60 metres from the first deck of Eiffel tower with his home-made parachute.

 

1914 A radio transmitter located in the tower jammed German radio communications during the lead-up to the First Battle of the Marne.

 

1925 The con artist Victor Lustig "sold" the tower for scrap metal on two separate, but related occasions.

 

1930 The tower lost the title of the world's tallest structure when the Chrysler Building was completed in New York City.

 

1925 to 1934 Illuminated signs for Citroën adorned three of the tower's four sides, making it the tallest advertising space in the world at the time.

 

1940–1944 Upon the German occupation of Paris in 1940, the lift cables were cut by the French so that Adolf Hitler would have to climb the steps to the summit. The parts to repair them were allegedly impossible to obtain because of the war. In 1940 German soldiers had to climb to the top to hoist the swastika[citation needed], but the flag was so large it blew away just a few hours later, and was replaced by a smaller one. When visiting Paris, Hitler chose to stay on the ground. It was said that Hitler conquered France, but did not conquer the Eiffel Tower. A Frenchman scaled the tower during the German occupation to hang the French flag. In August 1944, when the Allies were nearing Paris, Hitler ordered General Dietrich von Choltitz, the military governor of Paris, to demolish the tower along with the rest of the city. Von Choltitz disobeyed the order. Some say Hitler was later persuaded to keep the tower intact so it could later be used for communications. The lifts of the Tower were working normally within hours of the Liberation of Paris.

 

3 January 1956 A fire damaged the top of the tower.

 

1957 The present radio antenna was added to the top.

 

1980s A restaurant and its supporting iron scaffolding midway up the tower was dismantled; it was purchased and reconstructed on St. Charles Avenue and Josephine Street in the Garden District of New Orleans, Louisiana, by entrepreneurs John Onorio and Daniel Bonnot, originally as the Tour Eiffel Restaurant, later as the Red Room and now as the Cricket Club (owned by the New Orleans Culinary Institute). The restaurant was re-assembled from 11,000 pieces that crossed the Atlantic in a 40-foot (12 m) cargo container.

 

31 March 1984 Robert Moriarty flew a Beechcraft Bonanza through the arches of the tower.

 

1987 A.J. Hackett made one of his first bungee jumps from the top of the Eiffel Tower, using a special cord he had helped develop. Hackett was arrested by the Paris police upon reaching the ground.

 

27 October 1991 Thierry Devaux, along with mountain guide Hervé Calvayrac, performed a series of acrobatic figures of bungee jumping (not allowed) from the second floor of the Tower. Facing the Champ de Mars, Thierry Devaux was using an electric winch between each figure to go back up. When firemen arrived, he stopped after the sixth bungee jump.

 

New Year's Eve 1999 The Eiffel Tower played host to Paris's Millennium Celebration. On this occasion, flashing lights and four high-power searchlights were installed on the tower, and fireworks were set off all over it. An exhibition above a cafeteria on the first floor commemorates this event. Since then, the light show has become a nightly event. The searchlights on top of the tower make it a beacon in Paris's night sky, and the 20,000 flash bulbs give the tower a sparkly appearance every hour on the hour.

 

28 November 2002 The tower received its 200,000,000th guest.

 

2004 The Eiffel Tower began hosting an ice skating rink on the first floor each winter.

 

Design of the tower

 

Material

  

The Eiffel Tower from below

 

The puddle iron structure of the Eiffel Tower weighs 7,300 tonnes, while the entire structure, including non-metal components, is approximately 10,000 tonnes. As a demonstration of the economy of design, if the 7,300 tonnes of the metal structure were melted down it would fill the 125-metre-square base to a depth of only 6 cm (2.36 in), assuming the density of the metal to be 7.8 tonnes per cubic metre. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7.1 in) because of thermal expansion of the metal on the side facing the sun.

 

Wind considerations

 

At the time the tower was built many people were shocked by its daring shape. Eiffel was criticised for the design and accused of trying to create something artistic, or inartistic according to the viewer, without regard to engineering. Eiffel and his engineers, however, as experienced bridge builders, understood the importance of wind forces and knew that if they were going to build the tallest structure in the world they had to be certain it would withstand the wind. In an interview reported in the newspaper Le Temps, Eiffel said:

Now to what phenomenon did I give primary concern in designing the Tower? It was wind resistance. Well then! I hold that the curvature of the monument's four outer edges, which is as mathematical calculation dictated it should be […] will give a great impression of strength and beauty, for it will reveal to the eyes of the observer the boldness of the design as a whole.[37]

Researchers have found that Eiffel used empirical and graphical methods accounting for the effects of wind rather than a specific mathematical formula. Careful examination of the tower shows a basically exponential shape; actually two different exponentials, the lower section overdesigned to ensure resistance to wind forces. Several mathematical explanations have been proposed over the years for the success of the design; the most recent is described as a nonlinear integral equation based on counterbalancing the wind pressure on any point on the tower with the tension between the construction elements at that point. As a demonstration of the tower's effectiveness in wind resistance, it sways only 6–7 cm (2–3 in) in the wind.

 

Accommodation

 

When built, the first level contained two restaurants: an "Anglo-American Bar", and a 250 seat theatre. A 2.6 m (8 ft 6 in) promenade ran around the outside.

On the second level, the French newspaper Le Figaro had an office and a printing press, where a special souvenir edition, Le Figaro de la Tour, was produced. There was also a pâtisserie.

On the third level were laboratories for various experiments and a small apartment reserved for Gustave Eiffel to entertain guests. This is now open to the public, complete with period decorations and lifelike models of Gustave and some guests.

 

Engraved names

 

Gustave Eiffel engraved on the tower seventy-two names of French scientists, engineers and other notable people. This engraving was painted over at the beginning of the twentieth century but restored in 1986–1987 by the Société Nouvelle d'exploitation de la Tour Eiffel, a company contracted to operate business related to the Tower.

 

Maintenance

 

Maintenance of the tower includes applying 50 to 60 tonnes of paint every seven years to protect it from rust. The height of the Eiffel Tower varies by 15 cm due to temperature.

 

Aesthetic considerations

 

In order to enhance the impression of height, three separate colours of paint are used on the tower, with the darkest on the bottom and the lightest at the top. On occasion the colour of the paint is changed; the tower is currently painted a shade of bronze. On the first floor there are interactive consoles hosting a poll for the colour to use for a future session of painting.

The only non-structural elements are the four decorative grillwork arches, added in Stephen Sauvestre's sketches, which served to reassure visitors that the structure was safe, and to frame views of other nearby architecture.

One of the great Hollywood movie clichés is that the view from a Parisian window always includes the tower. In reality, since zoning restrictions limit the height of most buildings in Paris to 7 storeys, only a very few of the taller buildings have a clear view of the tower.

 

Popularity

 

More than 200,000,000 people have visited the tower since its construction in 1889, including 6,719,200 in 2006. The tower is the most-visited paid monument in the world.

 

Passenger lifts

 

Ground to the second level

The original lifts (elevators) to the first and second floors were provided by two companies. Both companies had to overcome many technical obstacles as neither company (or indeed any company) had experience with installing lifts climbing to such heights with large loads. The slanting tracks with changing angles further complicated the problems. The East and West lifts were supplied by the French company Roux Combaluzier Lepape, using hydraulically powered chains and rollers. The North and South lifts were provided by the American company Otis using car designs similar to the original installation but using an improved hydraulic and cable scheme. The French lifts had a very poor performance and were replaced with the current installations in 1897 (West Pillar) and 1899 (East Pillar) by Fives-Lille using an improved hydraulic and rope scheme. Both of the original installations operated broadly on the principle of the Fives-Lille lifts.

The Fives-Lille lifts from ground level to the first and second levels are operated by cables and pulleys driven by massive water-powered pistons. The hydraulic scheme was somewhat unusual for the time in that it included three large counterweights of 200 tonnes each sitting on top of hydraulic rams which doubled up as accumulators for the water. As the lifts ascend the inclined arc of the pillars, the angle of ascent changes. The two lift cabs are kept more or less level and indeed are level at the landings. The cab floors do take on a slight angle at times between landings.

The principle behind the lifts is similar to the operation of a block and tackle but in reverse. Two large hydraulic rams (over 1 metre diameter) with a 16 metre travel are mounted horizontally in the base of the pillar which pushes a carriage (the French word for it translates as chariot and this term will be used henceforth to distinguish it from the lift carriage) with 16 large triple sheaves mounted on it. There are 14 similar sheaves mounted statically. Six wire ropes are rove back and forth between the sheaves such that each rope passes between the 2 sets of sheaves 7 times. The ropes then leave the final sheaves on the chariot and pass up through a series of guiding sheaves to above the second floor and then through a pair of triple sheaves back down to the lift carriage again passing guiding sheaves.

This arrangement means that the lift carriage, complete with its cars and passengers, travels 8 times the distance that the rams move the chariot, the 128 metres from the ground to the second floor. The force exerted by the rams also has to be 8 times the total weight of the lift carriage, cars and passengers, plus extra to account for various losses such as friction. The hydraulic fluid was water, normally stored in three accumulators, complete with counterbalance weights. To make the lift ascend, water was pumped using an electrically driven pump from the accumulators to the two rams. Since the counterbalance weights provided much of the pressure required, the pump only had to provide the extra effort. For the descent, it was only necessary to allow the water to flow back to the accumulators using a control valve. The lifts were operated by an operator perched precariously underneath the lift cars. His position (with a dummy operator) can still be seen on the lifts today.

The Fives-Lille lifts were completely upgraded in 1986 to meet modern safety requirements and to make the lifts easier to operate. A new computer-controlled system was installed which completely automated the operation. One of the three counterbalances was taken out of use, and the cars were replaced with a more modern and lighter structure. Most importantly, the main driving force was removed from the original water pump such that the water hydraulic system provided only a counterbalancing function. The main driving force was transferred to a 320 kW electrically driven oil hydraulic pump which drives a pair of hydraulic motors on the chariot itself, thus providing the motive power. The new lift cars complete with their carriage and a full 92 passenger load weigh 22 tonnes.

Owing to elasticity in the ropes and the time taken to get the cars level with the landings, each lift in normal service takes an average of 8 minutes and 50 seconds to do the round trip, spending an average of 1 minute and 15 seconds at each floor. The average journey time between floors is just 1 minute.

The original Otis lifts in the North and South pillars in their turn proved to be inferior to the new (in 1899) French lifts and were scrapped from the South pillar in 1900 and from the North pillar in 1913 after failed attempts to repower them with an electric motor. The North and South pillars were to remain without lifts until 1965 when increasing visitor numbers persuaded the operators to install a relatively standard and modern cable hoisted system in the north pillar using a cable-hauled counterbalance weight, but hoisted by a block and tackle system to reduce its travel to one third of the lift travel. The counterbalance is clearly visible within the structure of the North pillar. This latter lift was upgraded in 1995 with new cars and computer controls.

The South pillar acquired a completely new fairly standard electrically driven lift in 1983 to serve the Jules Verne restaurant. This was also supplied by Otis. A further four-ton service lift was added to the South pillar in 1989 by Otis to relieve the main lifts when moving relatively small loads or even just maintenance personnel.

The East and West hydraulic (water) lift works are on display and, at least in theory, are open to the public in a small museum located in base of the East and West tower, which is somewhat hidden from public view. Because the massive mechanism requires frequent lubrication and attention, public access is often restricted. However, when open, the wait times are much less than the other, more popular, attractions. The rope mechanism of the North tower is visible to visitors as they exit from the lift.

 

Second to the third level

 

The original spiral stairs to the third floor which were only 80 centimetres wide. Note also the small service lift in the background.

The original lifts from the second to the third floor were also of a water-powered hydraulic design supplied by Léon Edoux. Instead of using a separate counterbalance, the two lift cars counterbalanced each other. A pair of 81-metre-long hydraulic rams were mounted on the second level reaching nearly halfway up to the third level. A lift car was mounted on top of the rams. Ropes ran from the top of this car up to a sheave on the third level and back down to a second car. The result of this arrangement was that each car only travelled half the distance between the second and third levels and passengers were required to change lifts halfway walking between the cars along a narrow gangway with a very impressive and relatively unobstructed downward view. The ten-ton cars held 65 passengers each or up to four tons.

One interesting feature of the original installation was that the hoisting rope ran through guides to retain it on windy days to prevent it flapping and becoming damaged. The guides were mechanically moved out of the way of the ascending car by the movement of the car itself. In spite of some antifreeze being added to the water that operated this system, it nevertheless had to close to the public from November to March each year.

The original lifts complete with their hydraulic mechanism were completely scrapped in 1982 after 97 years of service. They were replaced with two pairs of relatively standard rope hoisted cars which were able to operate all the year round. The cars operate in pairs with one providing the counterbalance for the other. Neither car can move unless both sets of doors are closed and both operators have given a start command. The commands from the cars to the hoisting mechanism are by radio obviating the necessity of a control cable. The replacement installation also has the advantage that the ascent can be made without changing cars and has reduced the ascent time from 8 minutes (including change) to 1 minute and 40 seconds. This installation also has guides for the hoisting ropes but they are electrically operated. The guide once it has moved out of the way as the car ascends automatically reverses when the car has passed to prevent the mechanism becoming snagged on the car on the downward journey in the event it has failed to completely clear the car. Unfortunately these lifts do not have the capacity to move as many people as the three public lower lifts and long lines to ascend to the third level are common. Most of the intermediate level structure present on the tower today was installed when the lifts were replaced and allows maintenance workers to take the lift halfway.

The replacement of these lifts allowed the restructuring of the criss-cross beams in upper part of the tower and further allowed the installation of two emergency staircases. These replaced the dangerous winding stairs that were installed when the tower was constructed.

Restaurants

The tower has two restaurants: Le 58 tour Eiffel, on the first floor 311 ft (95 m) above sea level; and the Le Jules Verne, a gastronomical restaurant on the second floor, with a private lift. This restaurant has one star in the Michelin Red Guide. In January 2007, the multi-Michelin star chef Alain Ducasse was brought in to run Jules Verne.

 

Attempted relocation

 

According to interviews given in the early 1980s, Montreal Mayor Jean Drapeau negotiated a secret agreement with French President Charles de Gaulle for the tower to be dismantled and temporarily relocated to Montreal to serve as a landmark and tourist attraction during Expo 67. The plan was allegedly vetoed by the company which operated the tower out of fear that the French government could refuse permission for the tower to be restored to its original location.

 

Economics

 

The American TV show Pricing the Priceless speculates that in 2011 the tower would cost about $480,000,000 to build, that the land under the tower is worth $350,000,000, and that the scrap value of the tower is worth $3,500,000. The TV show estimates the tower makes a profit of about $29,000,000 per year, though it is unlikely that the Eiffel Tower is managed so as to maximize profit.

It costs $5,300,000 to repaint the tower, which is done once every seven years. The electric bill is $400,000 per year for 7.5 million kilowatt-hours.

The Tokyo Tower in Japan is a very similar structure of very similar size. It was finished in 1958 at a final cost of ¥2.8 billion ($8.4 million in 1958).

 

Source Wikipedia

   

The Eiffel Tower (French: La Tour Eiffel, nickname La dame de fer, the iron lady) is an iron lattice tower located on the Champ de Mars in Paris, named after the engineer Gustave Eiffel, whose company designed and built the tower. Erected in 1889 as the entrance arch to the 1889 World's Fair, it has become both a global cultural icon of France and one of the most recognizable structures in the world. The tower is the tallest structure in Paris and the most-visited paid monument in the world; 7.1 million people ascended it in 2011. The third level observatory's upper platform is at 279.11 m the highest accessible to public in the European Union and the highest in Europe as long as the platform of the Ostankino Tower, at 360 m, remains closed as a result of the fire of August 2000. The tower received its 250 millionth visitor in 2010.

The tower stands 320 metres (1,050 ft) tall, about the same height as an 81-storey building. During its construction, the Eiffel Tower surpassed the Washington Monument to assume the title of the tallest man-made structure in the world, a title it held for 41 years, until the Chrysler Building in New York City was built in 1930. However, because of the addition, in 1957, of the antenna atop the Eiffel Tower, it is now taller than the Chrysler Building. Not including broadcast antennas, it is the second-tallest structure in France, after the Millau Viaduct.

The tower has three levels for visitors. Tickets can be purchased to ascend, by stairs or lift (elevator), to the first and second levels. The walk from ground level to the first level is over 300 steps, as is the walk from the first to the second level. The third and highest level is accessible only by lift - stairs exist but they are not usually open for public use. Both the first and second levels feature restaurants.

The tower has become the most prominent symbol of both Paris and France, often in the establishing shot of films set in the city.

 

History

 

Origin

  

First drawing of the Eiffel Tower by Maurice Koechlin

The design of the Eiffel Tower was originated by Maurice Koechlin and Émile Nouguier, two senior engineers who worked for the Compagnie des Establissments Eiffel after discussion about a suitable centrepiece for the proposed 1889 Exposition Universelle, a World's Fair which would celebrate the centennial of the French Revolution. In May 1884 Koechlin, working at his home, made an outline drawing of their scheme, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals". Initially Eiffel himself showed little enthusiasm, but he did sanction further study of the project, and the two engineers then asked Stephen Sauvestre, the head of company's architectural department, to contribute to the design. Sauvestre added decorative arches to the base, a glass pavilion to the first level and other embellishments. This enhanced version gained Eiffel's support, and he bought the rights to the patent on the design which Koechlin, Nougier and Sauvestre had taken out, and the design was exhibited at the Exhibition of Decorative Arts in the autumn of 1884 under the company name. On 30 March 1885 Eiffel read a paper on the project to the Société des Ingiénieurs Civils: after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying that the tower would symbolise "not only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude."

Little happened until the beginning of 1886, when Jules Grévy was re-elected as President and Édouard Lockroy was appointed as Minister for Trade. A budget for the Exposition was passed and on 1 May Lockroy announced an alteration to the terms of the open competition which was being held for a centerpiece for the exposition, which effectively made the choice of Eiffel's design a foregone conclusion: all entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars. On 12 May a commission was set up to examine Eiffel's scheme and its rivals and on 12 June it presented its decision, which was that all the proposals except Eiffel's were either impractical or insufficiently worked out. After some debate about the exact site for the tower, a contract was finally signed on 8 January 1887. This was signed by Eiffel acting in his own capacity rather than as the representative of his company, and granted him one and a half million francs toward the construction costs: less than a quarter of the estimated cost of six and a half million francs. Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the following twenty years. Eiffel later established a separate company to manage the tower, putting up half the necessary capital himself.

 

The "Artists Protest"

 

Caricature of Gustave Eiffel comparing the Eiffel tower to the Pyramids.

The projected tower had been a subject of some controversy, attracting criticism both from those who did not believe that it was feasible and also from those who objected on artistic grounds. Their objections were an expression of a longstanding debate about relationship between architecture and engineering. This came to a head as work began at the Champ de Mars: A "Committee of Three Hundred" (one member for each metre of the tower's height) was formed, led by the prominent architect Charles Garnier and including some of the most important figures of the French arts establishment, including Adolphe Bouguereau, Guy de Maupassant, Charles Gounod and Jules Massenet: a petition was sent to Charles Alphand, the Minister of Works and Commissioner for the Exposition, and was published by Le Temps.

"We, writers, painters, sculptors, architects and passionate devotees of the hitherto untouched beauty of Paris, protest with all our strength, with all our indignation in the name of slighted French taste, against the erection…of this useless and monstrous Eiffel Tower … To bring our arguments home, imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream. And for twenty years … we shall see stretching like a blot of ink the hateful shadow of the hateful column of bolted sheet metal"

Gustave Eiffel responded to these criticisms by comparing his tower to the Egyptian Pyramids : "My tower will be the tallest edifice ever erected by man. Will it not also be grandiose in its way ? And why would something admirable in Egypt become hideous and ridiculous in Paris ?" These criticisms were also masterfully dealt with by Édouard Lockroy in a letter of support written to Alphand, ironically saying "Judging by the stately swell of the rhythms, the beauty of the metaphors, the elegance of its delicate and precise style, one can tell that …this protest is the result of collaboration of the most famous writers and poets of our time", and going on to point out that the protest was irrelevant since the project had been decided upon months before and was already under construction. Indeed, Garnier had been a member of the Tower Commission that had assessed the various proposals, and had raised no objection. Eiffel was similarly unworried, pointing out to a journalist that it was premature to judge the effect of the tower solely on the basis of the drawings, that the Champ de Mars was distant enough from the monuments mentioned in the protest for there to be little risk of the tower overwhelming them, and putting the aesthetic argument for the Tower: "Do not the laws of natural forces always conform to the secret laws of harmony?"

Some of the protestors were to change their minds when the tower was built: others remained unconvinced. Guy de Maupassant[20] supposedly ate lunch in the Tower's restaurant every day. When asked why, he answered that it was the one place in Paris where one could not see the structure. Today, the Tower is widely considered to be a striking piece of structural art.

  

Construction

 

Foundations of the Eiffel Tower

  

Eiffel Tower under construction between 1887 and 1889

Work on the foundations started in January 1887. Those for the east and south legs were straightforward, each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg but the other two, being closer to the river Seine were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft)[21] to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a block built of limestone each with an inclined top to bear a supporting shoe for the ironwork. Each shoe was anchored into the stonework by a pair of bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. The foundations were complete by 30 June and the erection of the ironwork began. The very visible work on-site was complemented by the enormous amount of exacting preparatory work that was entailed: the drawing office produced 1,700 general drawings and 3,629 detailed drawings of the 18,038 different parts needed:

The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the position of rivet holes was specified to within 0.1 mm (0.04 in) and angles worked out to one second of arc. The finished components, some already riveted together into sub-assemblies, arrived on horse-drawn carts from the factory in the nearby Parisian suburb of Levallois-Perret and were first bolted together, the bolts being replaced by rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit it was sent back to the factory for alteration. In all there were 18,038 pieces of puddle iron using two and a half million rivets.

At first the legs were constructed as cantilevers but about halfway to the first level construction was paused in order to construct a substantial timber scaffold. This caused a renewal of the concerns about the structural soundness of the project, and sensational headlines such as "Eiffel Suicide!" and "Gustave Eiffel has gone mad: he has been confined in an Asylum" appeared in the popular press. At this stage a small "creeper" crane was installed in each leg, designed to move up the tower as construction progressed and making use of the guides for the lifts which were to be fitted in each leg. The critical stage of joining the four legs at the first level was complete by March 1888. Although the metalwork had been prepared with the utmost precision, provision had been made to carry out small adjustments in order to precisely align the legs: hydraulic jacks were fitted to the shoes at the base of each leg, each capable of exerting a force of 800 tonnes, and in addition the legs had been intentionally constructed at a slightly steeper angle than necessary, being supported by sandboxes on the scaffold.

No more than three hundred workers were employed on site, and because Eiffel took safety precautions, including the use of movable stagings, guard-rails and screens, only one man died during construction.

  

Inauguration and the 1889 Exposition

 

The 1889 Exposition Universelle for which the Eiffel Tower was built

The main structural work was completed at the end of March 1889 and on the 31st Eiffel celebrated this by leading a group of government officials, accompanied by representatives of the press, to the top of the tower. Since the lifts were not yet in operation, the ascent was made by foot, and took over an hour, Eiffel frequently stopping to make explanations of various features. Most of the party chose to stop at the lower levels, but a few, including Nouguier, Compagnon, the President of the City Council and reporters from Le Figaro and Le Monde Illustré completed the climb. At 2.35 Eiffel hoisted a large tricolore, to the accompaniment of a 25-gun salute fired from the lower level. There was still work to be done, particularly on the lifts and the fitting out of the facilities for visitors, and the tower was not opened to the public until nine days after the opening of the Exposition on 6 May, and even then the lifts had not been completed.

The tower was an immediate success with the public, and lengthy queues formed to make the ascent. Tickets cost 2 francs for the first level, 3 for the second and 5 for the top, with half-price admission on Sundays, and by the end of the exhibition there had been nearly two million visitors.

Eiffel had a permit for the tower to stand for 20 years; it was to be dismantled in 1909, when its ownership would revert to the City of Paris. The City had planned to tear it down (part of the original contest rules for designing a tower was that it could be easily demolished) but as the tower proved valuable for communication purposes, it was allowed to remain after the expiry of the permit. In the opening weeks of the First World War the powerful radio transmitters using the tower were used to jam German communications, seriously hindering their advance on Paris and contributing to the Allied victory at the First Battle of the Marne.

 

Subsequent events

 

10 September 1889 Thomas Edison visited the tower. He signed the guestbook with the following message— To M Eiffel the Engineer the brave builder of so gigantic and original specimen of modern Engineering from one who has the greatest respect and admiration for all Engineers including the Great Engineer the Bon Dieu, Thomas Edison.

 

19 October 1901 Alberto Santos-Dumont in his Dirigible No.6 won a 10,000-franc prize offered by Henri Deutsch de la Meurthe for the first person to make a flight from St Cloud to the Eiffel tower and back in less than half an hour.

 

1910 Father Theodor Wulf measured radiant energy at the top and bottom of the tower. He found more at the top than expected, incidentally discovering what are today known as cosmic rays.[28]

 

4 February 1912 Austrian tailor Franz Reichelt died after jumping 60 metres from the first deck of Eiffel tower with his home-made parachute.

 

1914 A radio transmitter located in the tower jammed German radio communications during the lead-up to the First Battle of the Marne.

 

1925 The con artist Victor Lustig "sold" the tower for scrap metal on two separate, but related occasions.

 

1930 The tower lost the title of the world's tallest structure when the Chrysler Building was completed in New York City.

 

1925 to 1934 Illuminated signs for Citroën adorned three of the tower's four sides, making it the tallest advertising space in the world at the time.

 

1940–1944 Upon the German occupation of Paris in 1940, the lift cables were cut by the French so that Adolf Hitler would have to climb the steps to the summit. The parts to repair them were allegedly impossible to obtain because of the war. In 1940 German soldiers had to climb to the top to hoist the swastika[citation needed], but the flag was so large it blew away just a few hours later, and was replaced by a smaller one. When visiting Paris, Hitler chose to stay on the ground. It was said that Hitler conquered France, but did not conquer the Eiffel Tower. A Frenchman scaled the tower during the German occupation to hang the French flag. In August 1944, when the Allies were nearing Paris, Hitler ordered General Dietrich von Choltitz, the military governor of Paris, to demolish the tower along with the rest of the city. Von Choltitz disobeyed the order. Some say Hitler was later persuaded to keep the tower intact so it could later be used for communications. The lifts of the Tower were working normally within hours of the Liberation of Paris.

 

3 January 1956 A fire damaged the top of the tower.

 

1957 The present radio antenna was added to the top.

 

1980s A restaurant and its supporting iron scaffolding midway up the tower was dismantled; it was purchased and reconstructed on St. Charles Avenue and Josephine Street in the Garden District of New Orleans, Louisiana, by entrepreneurs John Onorio and Daniel Bonnot, originally as the Tour Eiffel Restaurant, later as the Red Room and now as the Cricket Club (owned by the New Orleans Culinary Institute). The restaurant was re-assembled from 11,000 pieces that crossed the Atlantic in a 40-foot (12 m) cargo container.

 

31 March 1984 Robert Moriarty flew a Beechcraft Bonanza through the arches of the tower.

 

1987 A.J. Hackett made one of his first bungee jumps from the top of the Eiffel Tower, using a special cord he had helped develop. Hackett was arrested by the Paris police upon reaching the ground.

 

27 October 1991 Thierry Devaux, along with mountain guide Hervé Calvayrac, performed a series of acrobatic figures of bungee jumping (not allowed) from the second floor of the Tower. Facing the Champ de Mars, Thierry Devaux was using an electric winch between each figure to go back up. When firemen arrived, he stopped after the sixth bungee jump.

 

New Year's Eve 1999 The Eiffel Tower played host to Paris's Millennium Celebration. On this occasion, flashing lights and four high-power searchlights were installed on the tower, and fireworks were set off all over it. An exhibition above a cafeteria on the first floor commemorates this event. Since then, the light show has become a nightly event. The searchlights on top of the tower make it a beacon in Paris's night sky, and the 20,000 flash bulbs give the tower a sparkly appearance every hour on the hour.

 

28 November 2002 The tower received its 200,000,000th guest.

 

2004 The Eiffel Tower began hosting an ice skating rink on the first floor each winter.

 

Design of the tower

 

Material

  

The Eiffel Tower from below

 

The puddle iron structure of the Eiffel Tower weighs 7,300 tonnes, while the entire structure, including non-metal components, is approximately 10,000 tonnes. As a demonstration of the economy of design, if the 7,300 tonnes of the metal structure were melted down it would fill the 125-metre-square base to a depth of only 6 cm (2.36 in), assuming the density of the metal to be 7.8 tonnes per cubic metre. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7.1 in) because of thermal expansion of the metal on the side facing the sun.

 

Wind considerations

 

At the time the tower was built many people were shocked by its daring shape. Eiffel was criticised for the design and accused of trying to create something artistic, or inartistic according to the viewer, without regard to engineering. Eiffel and his engineers, however, as experienced bridge builders, understood the importance of wind forces and knew that if they were going to build the tallest structure in the world they had to be certain it would withstand the wind. In an interview reported in the newspaper Le Temps, Eiffel said:

Now to what phenomenon did I give primary concern in designing the Tower? It was wind resistance. Well then! I hold that the curvature of the monument's four outer edges, which is as mathematical calculation dictated it should be […] will give a great impression of strength and beauty, for it will reveal to the eyes of the observer the boldness of the design as a whole.[37]

Researchers have found that Eiffel used empirical and graphical methods accounting for the effects of wind rather than a specific mathematical formula. Careful examination of the tower shows a basically exponential shape; actually two different exponentials, the lower section overdesigned to ensure resistance to wind forces. Several mathematical explanations have been proposed over the years for the success of the design; the most recent is described as a nonlinear integral equation based on counterbalancing the wind pressure on any point on the tower with the tension between the construction elements at that point. As a demonstration of the tower's effectiveness in wind resistance, it sways only 6–7 cm (2–3 in) in the wind.

 

Accommodation

 

When built, the first level contained two restaurants: an "Anglo-American Bar", and a 250 seat theatre. A 2.6 m (8 ft 6 in) promenade ran around the outside.

On the second level, the French newspaper Le Figaro had an office and a printing press, where a special souvenir edition, Le Figaro de la Tour, was produced. There was also a pâtisserie.

On the third level were laboratories for various experiments and a small apartment reserved for Gustave Eiffel to entertain guests. This is now open to the public, complete with period decorations and lifelike models of Gustave and some guests.

 

Engraved names

 

Gustave Eiffel engraved on the tower seventy-two names of French scientists, engineers and other notable people. This engraving was painted over at the beginning of the twentieth century but restored in 1986–1987 by the Société Nouvelle d'exploitation de la Tour Eiffel, a company contracted to operate business related to the Tower.

 

Maintenance

 

Maintenance of the tower includes applying 50 to 60 tonnes of paint every seven years to protect it from rust. The height of the Eiffel Tower varies by 15 cm due to temperature.

 

Aesthetic considerations

 

In order to enhance the impression of height, three separate colours of paint are used on the tower, with the darkest on the bottom and the lightest at the top. On occasion the colour of the paint is changed; the tower is currently painted a shade of bronze. On the first floor there are interactive consoles hosting a poll for the colour to use for a future session of painting.

The only non-structural elements are the four decorative grillwork arches, added in Stephen Sauvestre's sketches, which served to reassure visitors that the structure was safe, and to frame views of other nearby architecture.

One of the great Hollywood movie clichés is that the view from a Parisian window always includes the tower. In reality, since zoning restrictions limit the height of most buildings in Paris to 7 storeys, only a very few of the taller buildings have a clear view of the tower.

 

Popularity

 

More than 200,000,000 people have visited the tower since its construction in 1889, including 6,719,200 in 2006. The tower is the most-visited paid monument in the world.

 

Passenger lifts

 

Ground to the second level

The original lifts (elevators) to the first and second floors were provided by two companies. Both companies had to overcome many technical obstacles as neither company (or indeed any company) had experience with installing lifts climbing to such heights with large loads. The slanting tracks with changing angles further complicated the problems. The East and West lifts were supplied by the French company Roux Combaluzier Lepape, using hydraulically powered chains and rollers. The North and South lifts were provided by the American company Otis using car designs similar to the original installation but using an improved hydraulic and cable scheme. The French lifts had a very poor performance and were replaced with the current installations in 1897 (West Pillar) and 1899 (East Pillar) by Fives-Lille using an improved hydraulic and rope scheme. Both of the original installations operated broadly on the principle of the Fives-Lille lifts.

The Fives-Lille lifts from ground level to the first and second levels are operated by cables and pulleys driven by massive water-powered pistons. The hydraulic scheme was somewhat unusual for the time in that it included three large counterweights of 200 tonnes each sitting on top of hydraulic rams which doubled up as accumulators for the water. As the lifts ascend the inclined arc of the pillars, the angle of ascent changes. The two lift cabs are kept more or less level and indeed are level at the landings. The cab floors do take on a slight angle at times between landings.

The principle behind the lifts is similar to the operation of a block and tackle but in reverse. Two large hydraulic rams (over 1 metre diameter) with a 16 metre travel are mounted horizontally in the base of the pillar which pushes a carriage (the French word for it translates as chariot and this term will be used henceforth to distinguish it from the lift carriage) with 16 large triple sheaves mounted on it. There are 14 similar sheaves mounted statically. Six wire ropes are rove back and forth between the sheaves such that each rope passes between the 2 sets of sheaves 7 times. The ropes then leave the final sheaves on the chariot and pass up through a series of guiding sheaves to above the second floor and then through a pair of triple sheaves back down to the lift carriage again passing guiding sheaves.

This arrangement means that the lift carriage, complete with its cars and passengers, travels 8 times the distance that the rams move the chariot, the 128 metres from the ground to the second floor. The force exerted by the rams also has to be 8 times the total weight of the lift carriage, cars and passengers, plus extra to account for various losses such as friction. The hydraulic fluid was water, normally stored in three accumulators, complete with counterbalance weights. To make the lift ascend, water was pumped using an electrically driven pump from the accumulators to the two rams. Since the counterbalance weights provided much of the pressure required, the pump only had to provide the extra effort. For the descent, it was only necessary to allow the water to flow back to the accumulators using a control valve. The lifts were operated by an operator perched precariously underneath the lift cars. His position (with a dummy operator) can still be seen on the lifts today.

The Fives-Lille lifts were completely upgraded in 1986 to meet modern safety requirements and to make the lifts easier to operate. A new computer-controlled system was installed which completely automated the operation. One of the three counterbalances was taken out of use, and the cars were replaced with a more modern and lighter structure. Most importantly, the main driving force was removed from the original water pump such that the water hydraulic system provided only a counterbalancing function. The main driving force was transferred to a 320 kW electrically driven oil hydraulic pump which drives a pair of hydraulic motors on the chariot itself, thus providing the motive power. The new lift cars complete with their carriage and a full 92 passenger load weigh 22 tonnes.

Owing to elasticity in the ropes and the time taken to get the cars level with the landings, each lift in normal service takes an average of 8 minutes and 50 seconds to do the round trip, spending an average of 1 minute and 15 seconds at each floor. The average journey time between floors is just 1 minute.

The original Otis lifts in the North and South pillars in their turn proved to be inferior to the new (in 1899) French lifts and were scrapped from the South pillar in 1900 and from the North pillar in 1913 after failed attempts to repower them with an electric motor. The North and South pillars were to remain without lifts until 1965 when increasing visitor numbers persuaded the operators to install a relatively standard and modern cable hoisted system in the north pillar using a cable-hauled counterbalance weight, but hoisted by a block and tackle system to reduce its travel to one third of the lift travel. The counterbalance is clearly visible within the structure of the North pillar. This latter lift was upgraded in 1995 with new cars and computer controls.

The South pillar acquired a completely new fairly standard electrically driven lift in 1983 to serve the Jules Verne restaurant. This was also supplied by Otis. A further four-ton service lift was added to the South pillar in 1989 by Otis to relieve the main lifts when moving relatively small loads or even just maintenance personnel.

The East and West hydraulic (water) lift works are on display and, at least in theory, are open to the public in a small museum located in base of the East and West tower, which is somewhat hidden from public view. Because the massive mechanism requires frequent lubrication and attention, public access is often restricted. However, when open, the wait times are much less than the other, more popular, attractions. The rope mechanism of the North tower is visible to visitors as they exit from the lift.

 

Second to the third level

 

The original spiral stairs to the third floor which were only 80 centimetres wide. Note also the small service lift in the background.

The original lifts from the second to the third floor were also of a water-powered hydraulic design supplied by Léon Edoux. Instead of using a separate counterbalance, the two lift cars counterbalanced each other. A pair of 81-metre-long hydraulic rams were mounted on the second level reaching nearly halfway up to the third level. A lift car was mounted on top of the rams. Ropes ran from the top of this car up to a sheave on the third level and back down to a second car. The result of this arrangement was that each car only travelled half the distance between the second and third levels and passengers were required to change lifts halfway walking between the cars along a narrow gangway with a very impressive and relatively unobstructed downward view. The ten-ton cars held 65 passengers each or up to four tons.

One interesting feature of the original installation was that the hoisting rope ran through guides to retain it on windy days to prevent it flapping and becoming damaged. The guides were mechanically moved out of the way of the ascending car by the movement of the car itself. In spite of some antifreeze being added to the water that operated this system, it nevertheless had to close to the public from November to March each year.

The original lifts complete with their hydraulic mechanism were completely scrapped in 1982 after 97 years of service. They were replaced with two pairs of relatively standard rope hoisted cars which were able to operate all the year round. The cars operate in pairs with one providing the counterbalance for the other. Neither car can move unless both sets of doors are closed and both operators have given a start command. The commands from the cars to the hoisting mechanism are by radio obviating the necessity of a control cable. The replacement installation also has the advantage that the ascent can be made without changing cars and has reduced the ascent time from 8 minutes (including change) to 1 minute and 40 seconds. This installation also has guides for the hoisting ropes but they are electrically operated. The guide once it has moved out of the way as the car ascends automatically reverses when the car has passed to prevent the mechanism becoming snagged on the car on the downward journey in the event it has failed to completely clear the car. Unfortunately these lifts do not have the capacity to move as many people as the three public lower lifts and long lines to ascend to the third level are common. Most of the intermediate level structure present on the tower today was installed when the lifts were replaced and allows maintenance workers to take the lift halfway.

The replacement of these lifts allowed the restructuring of the criss-cross beams in upper part of the tower and further allowed the installation of two emergency staircases. These replaced the dangerous winding stairs that were installed when the tower was constructed.

Restaurants

The tower has two restaurants: Le 58 tour Eiffel, on the first floor 311 ft (95 m) above sea level; and the Le Jules Verne, a gastronomical restaurant on the second floor, with a private lift. This restaurant has one star in the Michelin Red Guide. In January 2007, the multi-Michelin star chef Alain Ducasse was brought in to run Jules Verne.

 

Attempted relocation

 

According to interviews given in the early 1980s, Montreal Mayor Jean Drapeau negotiated a secret agreement with French President Charles de Gaulle for the tower to be dismantled and temporarily relocated to Montreal to serve as a landmark and tourist attraction during Expo 67. The plan was allegedly vetoed by the company which operated the tower out of fear that the French government could refuse permission for the tower to be restored to its original location.

 

Economics

 

The American TV show Pricing the Priceless speculates that in 2011 the tower would cost about $480,000,000 to build, that the land under the tower is worth $350,000,000, and that the scrap value of the tower is worth $3,500,000. The TV show estimates the tower makes a profit of about $29,000,000 per year, though it is unlikely that the Eiffel Tower is managed so as to maximize profit.

It costs $5,300,000 to repaint the tower, which is done once every seven years. The electric bill is $400,000 per year for 7.5 million kilowatt-hours.

The Tokyo Tower in Japan is a very similar structure of very similar size. It was finished in 1958 at a final cost of ¥2.8 billion ($8.4 million in 1958).

 

Source Wikipedia

   

Probably should've gotten more exposure time on this, but it was already *way* out of season. Captured over several nights in January 2024, from a Bortle 9 zone

 

---

 

**[Equipment:](i.imgur.com/ejpKkwU.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-290mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 10 hours 10 minutes (Camera at -15°C), Camera at unity gain.

 

* Ha - 35x360"

 

* Oiii - 31x360"

 

* Sii - 35x360"

 

* L - 200x120"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight Preprocessing:**

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration per channel

 

* DrizzleIntegration (2x, Var β=1.5)

 

* Dynamic Crop

 

* DynamicBackgroundExtraction

 

> duplicated each image and removed stars via StarXterminator. Ran DBE with a shitload of points to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)

 

> $T * med(model) / model

 

**Narrowband Linear:

 

* Blur and NoiseXTerminator

 

* Duplicated the images before stretching to be used for separate stars-only processing

 

* STF applied via histogramtransformation to stretch nonlinear

 

**Stars Only Processing:**

 

* StarXTerminator to make stars only image form each channel

 

* PixelMath to combine star images (SHO palette)

 

* SpectroPhotometricColorCalibration (narrowband working mode)

 

* SCNR Green

 

* ArcsinhStretch + HT to stretch nonlinear - to be combined later with starless pic

 

**Nonlinear:**

 

* PixelMath to combine stretched Ha, Oiii, and Sii images into color image (SHO palette)

 

* Invert > SCNR > invert > SCNR to remove greens and magentas

 

* Shitloads of Curve Transformations to adjust lightness, hues, contrast, saturation, etc

 

* LRGBCombination with stretched Ha as luminance

 

* more curves

 

* NoiseXterminator

 

* LocalHistrogramEqualization (at small and large scales to target varying structures)

 

* MLT for large scale chrominance noise reduction

 

* Extract L --> LRGBCombination for smaller scale chrominance noise reduction

 

* Pixelmath to add in the stretched stars only image from earlier

 

> This basically re-linearizes the two images, adds them together, and then stretches them back to before

 

> (Jimmy is a processing wizard when it comes to writing up this [independent starless processing stuff](www.nightphotons.com/guides/star-addition))

 

> mtf(.005,

 

> mtf(.995,Stars)+

 

> mtf(.995,Starless))

 

* more curves

 

* Resample to 60%

 

* Annotation

   

Chaos Theory... an Observation : 73° 35' W: 45° 30' N: 10/10/05: 10:30 EST

 

History

 

The roots of chaos theory date back to about 1900, in the studies of Henri Poincaré on the problem of the motion of three objects in mutual gravitational attraction, the so-called three-body problem. Poincaré found that there can be orbits which are nonperiodic, and yet not forever increasing nor approaching a fixed point. Later studies, also on the topic of nonlinear differential equations, were carried out by G.D. Birkhoff, A.N. Kolmogorov, M.L. Cartwright, J.E. Littlewood, and Stephen Smale. Except for Smale, who was perhaps the first pure mathematician to study nonlinear dynamics, these studies were all directly inspired by physics: the three-body problem in the case of Birkhoff, turbulence and astronomical problems in the case of Kolmogorov, and radio engineering in the case of Cartwright and Littlewood. Although chaotic planetary motion had not been observed, experimentalists had encountered turbulence in fluid motion and nonperiodic oscillation in radio circuits without the benefit of a theory to explain what they were seeing... en.wikipedia.org/wiki/Chaos_theory