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Perceptions - Rob Hall
"The Alabama Jubilee Hot-Air Balloon Classic is the oldest hot-air balloon race in the mid-South, started in Decatur, Alabama in 1978.
The sport of Hot-Air Ballooning had come to Decatur only a few years prior to the fact that the City of Decatur had decided to purchase a hot-air balloon but now needed pilots to fly it. So the salesman of the balloon cut a deal that he would train three pilots to fly the city's new balloon.
A few years later the sport of ballooning had hit Decatur hard and there were several well known pilots living in the area. Craving competition and the festival atmosphere provided at other ballon rallies 17 balloonists from Alabama,Kentucky, Ohio, Georgia, Mississippi and Louisiana got together with a handful of other volunteers and started the Alabama Jubilee
Initially Jubilee also served as a showcase for the new Decatur balloon, one of the first hot air balloons to represent a city, and an event to kick off Alabama's tourism season. These days Jubilee draws about 60 pilots from 20 states for two days of competition during the annual Memorial Day holiday weekend and serves not only as a showcase for the City of Decatur but as a must-attend community event that draws visitors for all over the country.
The continued popularity of the Alabama Jubilee prompted the Alabama Legislature to designate the City of Decatur as the “Ballooning Capital of Alabama.” The Jubilee has also been named a Top 20 Tourism Event in the Southeast for May by the Atlanta-based Southeast Tourism Society."
Taken from alabamajubilee.net/about.php?pagename=history as it appeared on May 26, 2014.
Photo Taken in Beaverton, ON - April 2021 (I love you Dad)
It was easier to get mad at him than it was to understand him. My dad was a tree with love and life running through each branch and for me, I had a leaf on that tree. It may have been a single leaf but it was mine, my own small piece of him. You see, also running through each branch was the reasons for why my dad was the man he was. You couldn’t see the reasons because as the tree grew the bark grew with it and that bark was thick, impenetrable and it covered the scars that my dad carried with him each and every day of his life. He never really talked a lot about it and no one ever really understood his reasons and it was just easier to get upset with him than it was to stop and question “why am I really getting upset”? I am sure that he realized the upset but he was trapped within that tree. He could hear the upset, see the upset and without a doubt he could feel the upset, but there he was stuck within that tree. Through it all though I hung onto that one leaf. I watched that leaf shine in the sun, drip in the rain, blow through the storms and dazzle with such beautiful colours in the fall. That leaf never fell to the ground and I hung on to it knowing that this leaf, this one small part of such a huge tree was mine. The rain and storms and the cold winter always gave way to the warmth of the sun and beauty of the fall. The tree that was my dad was anchored by all that was good, all that was love but some of the roots injected into him all that he struggled with. I do not blame my dad for allowing his tree to sway or to allow for branches to fall off because I knew he was powerless and I eventually understood. It took me awhile but I understood because like some of the roots on his tree, I inherited the same struggles. Nobody really seems to want to listen but he did as I listened to him. He understood first hand what I was telling him because he lived it his entire life. For me, the last 6 years I’ve been to many people hoping someone would listen, someone would understand or that someone would help but I always came back to him. “Why Dad” I would begin to ask and he never had an answer but he always provided an understanding. “Why does it feel like the world is always ending, my heart racing, what happened to me”, I would ask and again, never a definite answer, just words of understanding. “Why do I sit in a chair all day Dad and I feel paralyzed to move even though I know what I’m doing is wrong and I’m hurting others”, he would look at me from his car and I knew he understood. He understood because he is the tree and these are all his branches. It didn’t make Christmas’ easier and it didn’t make holding his hand easier because the branches on my dads tree were long now and showing signs of all the years and all that they have endured - but, he understood and I understood. I had a leaf on my dad’s tree, a single leaf but to me it was bigger than the tree itself because it was my leaf, my piece of my dad and I loved that leaf. I watched helplessly as that one leaf, my leaf fell to the ground and I wasn’t there to catch it. I should have been there to catch it and I let it fall. Gone now is that leaf, never to return again, never to extend that hand and tell me he loves me. What I would give to have that leaf back, just to see it shine again because that leaf had more love in it than I really ever knew until now, because it is gone. I don’t know what more to say, the pain right now is felt by many who had leafs on that tree. Some had many leafs, some had bigger leafs and I am sorry that these leafs are also gone - we all have lost a piece of something beautiful. I am so sorry Dad
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"Letters from My Future Self"
Starting a paper cut-n-paste project. Just for fun, for art, but not for serious..
To view complete project: Mindwash_Under the Threshold of Consciousness
Promotional Book | Type Promotional Book for Copy // Copy Cut // Copy Semi Grotesk
The basis of this project was to choose a typeface and design a poster, promotion book, type promotion book, and website to showcase and promote the chosen typeface. I chose the Copy Family: Copy // Copy Cut // Copy Semi Grotesk from the T26 Digital Type Foundtry.
Concept_Subject of Study:
Copy Semi Grotesk, the typeface designed by Thomas Mettendorf, is a mix between a slab serif, serif, and monotype typeface categories. Copy Semi Grotesk is a typeface that stands on its own, in a unique category between the slab serif, serif, and monotype; in short, Copy Semi Grotesk represents a sense of duality which is how it relates to the subject of subliminal perception. Subliminal perception occurs when you are not consciously aware of receiving information, or learning, yet the information is still stored in your mind; it reaches the individual on a subconscious level but affects one on a conscious level, thereby adding to that layer of duality. Since Copy Cut, with its angular cuts, is about breaking away from the ordinary shapes and basic design, so too is the concept of this book: to break through the meaning of these subliminal messages and realizing the underlying true content.
Final size of book: 7" x 10" | Printed on Brilliant Supreme Matte paper
Poster size: 24" x 36" | Printed on Brilliant Supreme Matte paper
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
New Flickr Profile Found At www.flickr.com/davegruentzel
My large cap mic. does the job very nicely.
331/365
I've gotta say. I'm in a strange, strange mood today.. I've been so busy, I'm starting to notice it's effecting my pictures. Tomorrow I have people coming to visit 'till Thursday, which I then leave at 6am in the morning to drive 15 hours, and then sleep in a random hotel and drive a few more hours to get to Connecticut Friday morning. I'll get to stay by the beach (yay!) and then head to Boston for a few days on Sunday. It should be a good weekend, but my mind is just overflowing with all I have to get done. On a side note; while I'm in Boston I'll be hanging out with an awesome photographer friend and we're gonna collab! Can't wait!
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One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
"Being born in a duck yard does not matter, if only you are hatched from a swan's egg."
Hans Christian Anderson
This is our local swan. Her and her partner have been using this nest, just a few minutes walk from my parents' house, for years. They have been the victims of vandals destroying the nest, yobs stealing or breaking their eggs and the Cob has required medical treatment after swallowing an abandoned fishing hook and line. Yet they come back year after year, laying their eggs and producing ugly yet beautiful young, which, if they avoid the mink and pike, grow into majestic and serene adults. Truly inspirational.
Thought it would look good to make a cross out of Easter eggs, I thought it kind of shows the evolution of the story about Jesus to what people associate Easter with now; chocolate eggs :)
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
Perception does not always equal reality. At first glance, the reality of this image is unseen. You have to look deeper to understand it is a muddy reflection in a puddle. I have always been fascinated with this idea of tricking the mind. The way we perceive something is not always the way it is... in art, and in life.
If You Like Rate It Here: (www.DigitalMediaFest.com/entry_detail.asp?EntryID=162)
Also, like me! www.facebook.com/melaniecasciophotography/
Sketchnote of a talk by Chris Atherton (@finiteattention) at GOTO Zurich in April 2013. Chris covered a whole range of cognitive science theories and gave a load of great examples to illustrate the talk.
Bloody black coutil corset features a late Victorian design with historically spaced straight front busk, two-layer construction with sandwiched, hand-flossed boning channels, and detailed back lacing including a floating modesty panel and silver grommets and aglets. And plenty of blood!
Standard sizing with the addition of an M+ size created specifically for very curvy avatars that don't fit into the standard sizes, and a Bx size for top-heavy avatars.
Available in-world at Perception and on the Marketplace.
Let me have few moments to give you a sight of wonderful moments of Children’s exhibition on DRR organized by Save the children, Badin district Sindh. Thousands of young children including few with disability proved their skills and abilities by having access to information, not only this they also proved to be catalyst to bring about change in the lives of other children while becoming role model for them. Certainly, these events were sort of contribution to international day of DRR (13 October, 2013) where most of the special children changed the perceptions of people regarding Disability that is not inability.
While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see.
~ Dorothea Lange
Mesh skull necklaces available at the *Perception* Booth at the Unhinged festival.
Mod/Transfer permissions.
Perception is a first-person narrative horror adventure featuring a young, blind woman who depends on her razor-sharp hearing to solve an ancient mystery and survive the forces that pursue her.
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Khulna, Bangladesh.
The boys are observing something straight on a side, other the policeman is viewing (may be the lady over the opposite side of the road) on the opposite direction... but both are stepping ahead of their destination...
And yeah, It's a Rainy day... :)
A Rainy Song for all of You!
I took advantage of the fact that it was raining in my office... I created a conceptual art piece called Perception Precipitation, consisting of paper towels, a leaking roof, the random pattern of rain on the paper and the sound of the water hitting said paper.
This piece, though simple looking, is fraught with meaning, commenting of the random interactions of the world outside of the workplace and how it lands on the desks of minions making their lives miserable, on how Nature overcomes Man's best efforts to order his world, and on how mutability (represented by water) inserts itself randomly on the orderly lives below (represented by the careful grid of paper towels) punishing them and affecting them randomly, changing them, and slowly destroying and wearing away their carefully pressed facades that they use to face the world and hide their inner selves.
Bids for this installation start at $400,000 (Daddy needs to pay fer a brand new house!).
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
This clever sculpture is concave instead of convex, demolishing expectations and playing with your parallax.
Asheesh probably wasn't supposed to hop this fence and put Herbert in front of the sculpture, but at least he didn't disobey the sign that said "do not touch the art". I started singing "This Land Is Your Land" as Asheesh stepped over the fence, but nobody got it.