View allAll Photos Tagged Sensitive
Siri's ability to make location-sensitive reminders opens up so many prank possibilities on other people's iPhones.
Me: "Remind me to do an Irish jig when I get to Lauren's office."
Siri: "OK, I'll remind you."
(Siri did indeed correctly geofence the reminder for Lauren's work address. Nice how it recognises "office" as "work" too.)
37/52
So, two big things in one week. The first one was the Danish parliamentary election and the second one is the book that I've designed the front cover for, was published yesterday!
Since the book is a big thing for me personally, I've chosen to use it as my weekly selfportrait.
If any of you should have any interest in it (it's in Danish, though), it's named "Det sensitive Univers" by Pernille Nederland and published by Forlaget Ravnerock. It's about highly sensitive people and I think most people would benefit from more knowledge about the trait...
Sensitive & colorful knitting
for the SariSilkProject
on the Silk Road to heaven....
incorporated buttons
not only for fastening issues
mixed with stashed materials of all sorts & processed blindfolded
to create a result
much different from anything
you have ever seen so far....
infinite wearing options
like most of my creations
will soon be available on etsy
The long term project
was initiated & inspired
by a totally unexpected donation
of a gorgeous assortment
of precious sarisilk ready to knit
by my dear friend
Kerstin & her Wollmobil
- VIELEN DANK nach Detmold ;-))
There are many ways to think of sensitive, and actually, many of them work for me. I take things to heart, and feel them deeply...for myself and (hopefully!) others.
Toni and I each took photos for our own words, and the others'. We didn't choose things together, but rather, each brought our own take on the word. The contrast between Toni's dark, rich pictures, and my bright whites really makes me smile.
LAMPADA SENSITIVE
La trovi qui:
www.lampadesign.com/scheda.php?id=45
Per le persone amanti delle forme e dell’arte, l'abatjour
da tavolo Sensitive è la lampada giusta
Ha una forma allungata quasi a ricordare un sottomarino
La puoi adagiare su un mobile, su un tavolino o per terra,
ovunque ti darà quel tocco raffinato in più e una luce meravigliosa
Scegli i colori che più ti piacciono, te la costruiremo come tu la desideri
Sept 16, 2014: I made this widget ages ago and I only set it up occasionally but there are times when only this will do. Here I'm drilling a #53 hole in an odd location on a very oddly shaped part. The thing was cut out with a waterjet and I used the discarded parts to make custom jaws to hold it in the vise for further machining.
Inner ear hair cells. Coloured scanning electron micrograph (SEM) of sensory hair cells from the cochlea of the inner ear. The hairs are surrounded by a fluid called the endolymph. As sound enters the ear it causes waves to form in the endolymph, which in turn cause these hairs to move. The movement is converted into an electrical signal, which is passed to the brain. Each crescent-shaped arrangement of hairs lies on the top of a single cell.
Safeguards Equipment - NDAI Systems Photo Book
Neutron Detector – Charge Sensitive Preamplifier
Photo Credit: Dean Calma / IAEA
The 1N34A diode is seen here mounted on top of the clear poly cover.
It is normally used in the crystal circuit to convert the AC signal to a DC audio signal for the earphone.
However, this diode is light-sensitive to sunlight, candle-light, laser light, flashlights, and AC light bulbs. Each light source produces a different sound.
Are you worried and irritated due to the pain in your teeth when you eat and drink hot and cold foods and #beverages. It is mainly due to teeth sensitivity which can turn out to be quite painful dental condition if it is not taken care of on immediate basis.
Teeth #sensitivity troubles many Americans, and they do not know about the reasons for the sensitivity in their teeth. Therefore, we are going to discuss about the reasons of tooth sensitivity, things that you can do at home in order to prevent and get rid of this condition, the ways dentists treat this issue.
Can teeth whitening be the reason for sensitivity?
After getting the teeth whitened professionally or with the use of over-the-counter whitening product, you may experience sensitivity in your teeth. This sensitivity is pretty normal. The condition we are talking about mainly involves hypersensitivity of tooth’s dentin. Sensitivity caused by teeth whitening is due to the bleach which tends to penetrate into the teeth in order to carry out its function.
Reasons for the tooth sensitivity issue
Tooth sensitivity, also known as #Dentin #Hypersensitivity, is not uncommon. The major reasons for tooth sensitivity are mainly two, i.e. receding gums and erosion of teeth #enamel. Both these reasons lead to one condition, i.e. exposure of dentin. Dentin basically contains lot of #nerves. When you eat or drink hot and cold foods, these nerves get stimulated. As a result, the sharp pain arises.
There are a few factors which result in tooth sensitivity.
•Enamel #erosion due to teeth grinding
•Enamel erosion due to aggressive brushing
•Enamel erosion due to acid interaction
•Gum recession
How to take care of sensitive teeth at home
Although dental appointment should be your first priority if you are facing the issue of sensitive teeth, there are a few things that you can do at home to ensure proper care of your sensitive teeth.
•First you need to look at the #toothpaste you are using. If your toothpaste contains ingredients which can turn out to be harsh on your teeth and gums, replace your toothpaste with the one made specifically for sensitive teeth. Typically, the toothpaste with potassium nitrate can help you in this regard because this ingredient is known to cover the tiny pores which allow transportation of other ingredients to let the sensitivity occur.
•After changing your toothpaste, you should change your toothbrush as well. Make sure that the toothbrush you are getting has soft bristles. At the same time, make sure that you are not continuing with your vigorous brushing habits.
•Protect your tooth enamel by avoiding acidic foods. Foods like soda, pop, wine and other acidic foods can put your teeth at the risk of consistent acidic attack. The first victim in this regard is going to be the tooth enamel.
•If you have the habit of grinding your teeth at night, consider using a #nightguard. That will help the chewing surfaces of your teeth to have a nice cushion.
Apart from these at-home treatments, you should also look to get an appointment with your dentist.
>
No usar esta imagen sin mi autorización. © Todos los derechos reservados.
Please don't use this image without my explicit permission. © All rights reserved
Sensitive & colorful knitting
for the SariSilkProject
on the Silk Road to heaven....
incorporated buttons
not only for fastening issues
mixed with stashed materials of all sorts & processed blindfolded
to create a result
much different from anything
you have ever seen so far....
infinite wearing options
like most of my creations
will soon be available on etsy
The long term project
was initiated & inspired
by a totally unexpected donation
of a gorgeous assortment
of precious sarisilk ready to knit
by my dear friend
Kerstin & her Wollmobil
- VIELEN DANK nach Detmold ;-))
Lex found some flowers which made me think he had a sensitive side. Then he ripped them apart with his hands.
Lex found some flowers which made me think he had a sensitive side. Then he ripped them apart with his hands.
‘NODE15 – Forum for Digital Arts’ is gathering designers, creative coders and digital artists for creative explorations of technologies. With the Leitmotif ‘Wrapped in Code – the Future of the Informed Body’, NODE15 is devoted to the negotiation of the body and its fusion with technology. It’s a week long rush with hands-on vvvv workshops, exhibition, symposium, performances and artist talks.
photo: jessica schäfer
dandelion tea, turmeric- green tea, honey
Oils: olive , coconut, safflower, castor, avocado, sesame, Shea butter turmeric and alfalfa infused oil. Essential oils: Tea Tree, Lavender, Patchouli
Sensitive & colorful knitting
for the SariSilkProject
on the Silk Road to heaven....
incorporated buttons
not only for fastening issues
mixed with stashed materials of all sorts & processed blindfolded
to create a result
much different from anything
you have ever seen so far....
infinite wearing options
like most of my creations
All over the ground by the lake at the college. I planted some a few years ago and paid for them. Didn't know they were wild. When you touch the leaf it closes up.
Here is an excellent site to watch the leaves close:
plantsinmotion.bio.indiana.edu/plantmotion/movements/nast...
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
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An evening dedicated to the memory and the merit of the renowned poet Misak Medzarents took place on Friday, February 13, at 8:00 PM, at the K. and H. Armenian Hall of Levon Shant Cultural Center of Hamazkayin. The event was organized by the literary-cultural committee of the Central Committee of Hamazkayin. A large number of art lovers were present at the event.
At the beginning of the event, a film prepared by the committee was presented and in which intellectuals, school directors, teachers, students, and lovers of literature expressed their thoughts, opinions, and impressions of Medzarents and his work.
Following to the presentation of the film, Irma Dedeian delivered the welcome speech on behalf of the organizing committee. She mentioned that the goal of the event was to revive the spirit of Medzarents within the audience and which is enriched with balsams and has the lighted glance of an apricot.
Sarkis Giragossian was the keynote speaker of the event. He said that the immortals who are wearing the wreaths of the eternity do not need to have jubilee celebrations to become the matter of discussion and praise among the circle of literary critics and literature lovers.
Mr. Giragissoan said that in spite of his short creative life span over only four years, and after a century has passed on his death, we read the poems of the sensitive poet and will continue to read them in the manner we read the sky, the fire, the sun, the sea, the breeze, and the whispering of the blossom.
He mentioned that Misak Medzarents, who has goldened his poetry with the transparent and marvelous poetic legacy of Nerses Shnorhali. Krikor Naregatsi, Nahabed Kouchag, and the poetry of Agn, and who has sculptured his art under the influence of the mystic poets of Europe, and who had acquired a new poetic language with the determination to “Be myself as much as possible,” developed into a genuine naturalistic poet. Towards the end of his speech, Sarkis Giragossian affirmed that Misak Medzarents, due to his talent given by God, succeeded in becoming a philosopher of colors, aromas, lights and sounds not only for his own times, but for eternity.
Afterwards, Hera Ajemian performed a pice by Shopen on the piano and Irma Dedeian recited two poems by Medzarents, “Dour indzi Der” and “Antarts.”
Towards the end of the program, Manoug Minassian and Carmen Ajemian performed the duet “Yerazi orer” and Ms. Ajemian sang “Sirerk.” Seto Baghdasarian accompanied the singers of the keyboards.
At the end of the event, CDs featuring a collection of poems by Medzarents were given out to the audience. The poems are recited by Irma Dedeian, the accompanied music has been selected by Vahram Emmiyan, and the recordings have been carried out at Seto Baghdasarian Studio.