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Dad and Uncle Matt picked up some beer on the walk home from dinner, but neither of those lazy bums felt like carrying it so they used my stroller as a shopping cart! My Grandpa Swineford would be so proud of me.
the red structure mounted outwith the concrete pier and the main steelwork are temporary bearings used to slide the bridge deck sections out into place. Once all sections are in place these bearings will be removed and the bridge deck lowered onto the fixed bearings which allow movement between the pier and bridge deck.
Used for discussions between both sides. That's the North Korean side past the blue buildings, a line is drawn between the buildings partitioning them
Temporary health and safety measures for new bridge before fitting handrails. The subframe for the ramp can be seen
Taylor Muse of Quiet Company, at The Spot in Tyler, Texas. This might be a temporary file, as my laptop is dead. More pictures Tuesday!
"Let's Make the Third Eye Listen"
Liz Cambron, Sara Condo, Grace Cross, Rachel Glass
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#documentMyArtDotCKOssers
“In his view, pure contemporarity would never be possible, because being absolutely with time would permit no future, no past, and this no present. It would amount to the identity of being and time - an impossibility” (Smith, pp.12)
“The bold reversal of contemporary usage was understandably slow in being accepted; occasionally, where the context left no room for doubt, Vasari himself relapses into the earlier habit of using the word moderno in the sense of “no longer classical” (vis., “mediaeval”) instead of in the sense of “no-longer mediaeval” (viz., ‘of the present”)” (Panofsky, pp.35)
“ . . . you must simultaneously affirm the existence of the object while denying the relevance of the tern that designates that existence. Or perhaps it might be better to admit that the notions, that cluster around the word ‘modern’ are as unavoidable as they are unacceptable” (Jameson, pp.13)
“Newer modernists operate on the principle of intensification and desire, they want to loosen modernism and give it some more of what it had” (Lavin)
TEMPORARY TEMPLE by TASMAN RICHARDSON & RKO (FR, CA)
v-atak.com
tasmanrichardson.com
Performing as «mediums» pulling from recorded media, the power of the dead. Clips are collected to form video «dictionaries » of primary symbols or universal archetypes. The performers will improvise a duet made entirely of the video clips. The sounds will come from the source videos. The performance will create a temporary temple for the audience. A focal point filled with celebrities, static and gods. Video content will be selected in a stream of consciousness style of editing, music concrete meets video cut ups inspired by Burroughs and Gysin.
Jouant comme des “mediums” puisant le pouvoir de la mort dans divers matériaux enregistrés. La performance est nourrie de «dictionnaires» vidéos composés de symboles primitifs et d’archétypes universaux. Les participants improvisent un duo entièrement composé de vidéo clips. Le son provient des sources vidéo.
La performance construit un temple éphémère à destination du public. Avec une prédominance de célébrités, parasites et dieux. Le contenu des vidéos est choisi dans un style de montage proche du flux de conscience, la musique concrète côtoie des cut-up vidéo inspirés de Burroughs et Gysin.