View allAll Photos Tagged Understanding
Understanding Exposure:
Ever walk out of a movie theatre into a bright and sunny day and squinted? That’s your eyes getting used to the light or exposure of light from one extreme to the next. Your camera goes through much the same process from place to place and can sometimes be fooled, to the detriment of your product.
In these examples, you’ll see one image where there was a lot of light in the background and the camera was fooled into thinking the scene was much brighter than it really was. This means that the product was under-exposed and not enough light information was taken in by the camera. With under-exposure, products look dull and muddy.
In the second photograph has been exposed correctly, meaning there were no confusing light sources present. Your camera would generally get results like this as it can sense if there is too much or too little light.
The third example the camera was once again fooled, but this time it thought there was too little light thus over-exposing the product. Over-exposure causes products to look flat and dull (but can be used to great effect for a seasoned photographer.)
The exhibition "Understanding AI" shows how neural networks are structured and offers visitors the opportunity to train neural networks themselveswith via interactive stations.
Credit: Ars Electronica / Robert Bauernhansl
Three quarters of the miseries and misunderstandings in the world would finish if people were to put on the shoes of their adversaries and understood their points of view.
--Mahatma Gandhi--
Smithsonian National Air and Space Museum – Udvar-Hazy Center
Documenting spaceflight through photography has gained importance during the space age. NASA used cameras to record tests while developing rockets, spacecraft, and other equipment. The value of in-flight photography by astronauts, however, was debated up through the Apollo program. Because every gram of equipment had to be justified, and every moment of an astronaut’s time meticulously planned, it took years for photography to become fully accepted in the U.S. space program.
Photography equipment, either integrated into the spacecraft or held by astronauts was selected by NASA for its high quality, reliability, and ability to be modified for use in space. Photographs taken by those cameras are crucial to understanding the experience and science of space exploration.
The cameras and equipment displayed here show not only the evolution of photographic technology for space flight, but also the increasing role of the astronaut as a photographer.
An attendee at the opening of the White Rabbit gallery REFORMATION exhibition opening tries to get a better view of how the 'drawing machine' works. Sorry no artist information at the moment but will update after getting back to the exhibition. Soon!
Fujifilm X Pro1 - XF18mm F2.8 R
100th at F2.2 1600 iso
The Memorandum of Understanding renews and expands collaboration on global scientific and technological solutions over the next five years. The extended agreement reaffirms both agencies’ commitment to jointly address critical development and humanitarian challenges affecting the United States and developing countries through the generation and use of scientific research, innovations, and technologies and advances further interagency collaboration under the President’s Emergency Plan for Adaptation and Resilience (PREPARE). Specifically, the partnership will draw on NASA's Earth science research and space technology development to help inform USAID’s global programming.
100th Kansas State Fair Exhibit
September 7-16, 2013
Exhibit Title: 100 Years of Agriculture; Past, Present, and Future
This program is funded in part by the Kansas Humanities Council, a nonprofit cultural organization promoting understanding of the history, traditions, and ideas that shape our lives and build communities.
View images of submitted artworks as they come in on Flickr at:
Location: Kansas State Fair
2000 N. Poplar Street
Hutchinson, KS, 67502
Participants:
Breezeway Section of Fair:
Manhattan Area Weavers and Spinners Guild, Manhattan, KS
Marsha Jensen, Manhattan, KS
Abraham Buddish, Winchester, KS
Patrons of the Kansas State Fair, Hutchinson, KS
Kai Dicus, Overland Park, KS
Debbie Rodgers, Suisun City, CA
Susie G. Smith, Kansas City, MO
Randy and Lou Ann, Lyons County, KS
Jan Benteman, Clyde, KS
Flint Hills Guild, Emporia, KS
Tracey Graham, Emporia, KS
Sherry Dicus, Overland Park, KS
Meg Wieboldt, Winthrop Harbor, IL
Yvette Morton, Kansas City, MO/KS
Mo-Kan Heart Quilters Guild, KS
Doris Carr, Kansas City, MO
Harper's Fabric and Quilt Co., facilitated by Rosemary Cromer, Elaine Johnson, and the Harper's Staff, Overland Park, KS
Doug Waters, Hugoton, KS
Kathleen Ronnebaum, Baileyville, KS
John Lane, Topeka, KS
NAMI Topeka, Inc.
Kansas City Weavers Guild
Becky Stevens, Kansas City, KS/MO
Jennifer Marsh, Topeka, KS
Special Thanks to:
Thomas Fox Averill, Topeka, KS
Sarah Smarsh, Lawrence, KS
Michael Hager, Topeka, KS
Katya Strakhova, Topeka, KS
Kelli Karline, Garden City, KS
Parkwood Village, Pratt, KS
Deseret Health Rehab Center, Pratt, KS
Pratt Rehabilitation and Residence Center, Pratt, KS
Kiowa County Library, Greensburg, KS
Kingman Library, Kingman, KS
Salina Public Library, Salina, KS
West Wyandotte Library, Kansas City, KS
Chris Hawkins, Wichita, KS
Marilyn Carr, Mission, KS
Martha S. Heimbaugh, Basehor, KS
Oz Section of Fair:
Pauline Central Elementary, Topeka, KS
Robinson Elementary School, Augusta, KS
Lincoln Elementary School, Augusta, KS
Just Kids Happy English Summer Camp, Venice, Italy
Garfield Elementary School, Augusta, KS
Madison Academy Senior Lauren Daley, Madison, AL
Louis P. Slade Middle School, New Britain, CT
KT Bothwell, Sarah Bugosh Conklin, and Pamela Cowie Patrick, Huntsville, AL
Babylon Village Girl Scout Troop 360 with the Girl Scouts of Suffolk County, Babylon, NY
Art school #548 and Ksenya Gladchuk, Moscow, Russia
Rhea-Donna Reyes, Tallahassee, FL
Mt. Gap Elementary Science Club, Huntsville, AL
Shawnee Heights High School, student Kelsey White, Tecumseh, KS
Jourdan Bilderback, Huntsville, AL
Paul Revere Innovation School, 5th grade, Revere, MA
Justine, a student in the Smith Valley School Art Department, Smith, NV
Luis, Judith, Sandra, and Irvin, students from the Smith Valley School Art Department, Smith, NV
McCarter Elementary School, Topeka, KS
Adam and Madison, 4th grade students at Divine Child Elementary School, Dearborn, MI
Marie and Yazmin, 4th grade students at Divine Child Elementary School, Dearborn, MI
Southeast Elementary School, 4th grade Quest students, Meridian, MS
Stanhope Library Quilting Club, Stanhope, IA
Wotancraft's Traveler's Notebook and City Explorer Camera Bag Review - Part 1
Our job to find great stuffs from all over the world doesn't stop at product level, I believe understanding the concept and stories behind is far more important than product features. Only through digging deeper will I be able to bring true benefits to end users, in the process of doing this I learned a lot and makes my job an adventurous one. It is exactly this practice which sets us apart from a typical retail chain store.
This review is separated into two parts. Part 1 is a story in this post, Part 2 is a product review in the next post.
I first found Wotancraft from random searching on the net a year or so before, then I popped into a great store in Hong Kong called Annie Barton and found their products there. Admiring the quality and aesthetics I grew interest in the brand, I was scared away by the price though. So despite having the feeling that those bags suit my needs and in styles I adore, I found myself staring at them repeatedly on the net and never got myself one. What stopped me from getting one? The price tag and lack of knowledge about Wotancraft's true attention to details. Annie Barton told me each one of the bags were made by hand by those artisans in Taiwan, I couldn't believe it, no way, the bags are so well made I thought they were produced by professional mass producing bag maker. Judging from the details, each model requires literally hundreds of manufacturing processes and it was not possible to be made by just a few persons by hands. The story turned out entirely true when I got a chance to visit Taipei 20 days ago.
On the day I arrived Taipei, before other business engagements I shot right away to the Wotancraft showroom/shop. It was a huge disparity between what's inside the place and everything else surrounding it! Inside a dim florescent lit office building full of local trading businesses with zero taste and style decorations, I was still assuming Wotancraft a corporation you know, but once I entered the showroom, everything changed.
Surrounded by cozy fixtures made from aged wood and pig iron, products made from leather and canvas, I immediately felt homey. One side of the store was an open shelf displaying full product range and prototypes, while the other side is a service counter full of custom made leather straps for Panerai watches. I picked up the City Explorer series of bags and started examining each one of them until a friendly staff came out of the backyard and explained to me product details.
Soon I was unpacking my camera bag and started trying out almost every model possible. I guess camera bag to a guy is like fashion to a girl, you can spend hours enjoying the selection process in a setting like that. The staff noticed my Traveler's Notebook and some of my leather craft stuffs like camera case and straps. "James have the same notebook! He made crazy customization of it." That's when real conversation began.
By then I realized that each one of their bags were literally made by their own hands. Four artisans made up the entire Wotancraft company, the two I met in store were among them. It was not a corporation I presumed before, just a small bunch of people doing everything by themselves. Time to leave for a business engagement, hungered for more stories, I used Paypal to pay for the City Explorer 002 Ranger bag, left the showroom and determined to contact James about his Traveler's Notebook and come back a few days later. During my initial stay at the showroom, there were constant influx of Panerai fans looking for unique leather straps, but I'm not gonna cover that part of the story here.
3 days later, after a few email exchanges I finally met James, the soul behind Wotancraft. The company was created out of his pure passion in photography and watches, despite working as a bio-chemist after his graduation, he started to make his first prototype camera bag 5 years ago. Not satisfied with camera bags with trivial features and ugly looks, he explored different forms and materials and came up with a bag he would use. He was kind enough to show me all the thoughts he put into this City Explorer 002 Ranger bag, comparing it to his first prototype. I will cover the details in Part 2 in the next post.
Let's talk about James' Traveler's Notebook. In a typical Traveler's Notebook show me yours and I'll show you mine fashion, we exchanged our usage patterns. His cover is not the original but one made by himself, a very thoughtful implementation. There are two layers of leathers, a thicker one forms the shape while the outer thinner one gives its distinct Wotancraft look.
The thin leather on the cover is the same material James uses in his City Explorer series of camera bags. Stitched together on 3 sides, the notebook cover has an opening on one side doubling the cover as a pocket by itself. To increase the pocket size, James relocated the elastic string attachment point from the middle of the back to the edge, creating an inner space large enough for his stationery stuffs.
As a master of customization, he of course couldn't settle with a bookmark without his very own Wotancraft branded charm and leather tag. On typical day, James would use two types of notebooks inside - Traveler's Notebook lightweight paper for note taking, sketch paper for sketching. Inspecting his TN, I found inspirations common to creative people, not only would he take notes in meticulous details, he sketches out architectural structures purely out of his head, perhaps this keen practice is his way of precipitating his creativity into reality.
James' TN is so far the best Traveler's Notebook mod I've ever seen, functional and pleasing. I've got to make one myself someday :) Stay tuned for Part 2.
More on Scription blog: scription.typepad.com/blog/2012/03/wotancrafts-travelers-...
my first form of liquid painting was on abstract spiritual forms in motion.
i finished that series in 1999 after a show in which no one seemed to be intrigued by the essential qualities of what our eyes show to us.
i switched over to REAL representational art.
but i kept the NOT GALLERY aspect of my work pretty strong -- using way more black, only tints and shades and full chroma colors. i painted my feelings with the colors i chose.
and "my feelings" weren't intended to be my own.
i love classical ideology.
form and beauty and also our modern understanding that the 1 percent is fetish and nazi/fascist by its nature.
so i'm not into perfection as much as the idea of things that are just obviously better or trying or engaged or activated.
arguments about perfection are weird.
why do people like to fight so much?
my eyes tend to see all things as rather ordinary and i want to show off the simple things i find, to revel in their nature and then to figure out an expression that suits the two -- the object itself and my attitudinal relationship with it. for me, more than ambiguous emotional terms, i favor HEAT and MOTION as the aspects of light that i choose to focus on.
because my life is so interlapped with photography, i am both a camera and a painter, a robot and a brain, a drone and brighter magick user.
i can't help this double nature and like prince said, you'd better know your dark side and your bright side and if they can get along and you end up bright, that is the path of the philosopher guide.
so if that's you, now is the time!
RISE up among the people.
use your intelligent power to untangle the ropes of darkness!
but i digress.
so through and along my urban and townsy journeys -- santa barbara, seattle, san francisco, santa fe, san diego, amsterdam, manhattan -- i eventually found my way to flowers.
they grow in the front yards of the people's homes wherever i walk, or in buckets at a florist shop along the street or a grocery store. the beauty of flowers is everywhere.
and flowers are a reminder that everything dies. but it can be beautiful.
and we cut flowers for their beauty.
for me, roses are wanton.
they are my third form/series of liquid paintings.
the second one, and the most explored/exploded, is the exploding rainbow dahlia.
and where roses are wanton and vain-glorious (really, i had no idea!), the dahlia is like a swiss community with its order and its architectural phenomenon.
my exposure to dahlias was limited before i arrived in san francisco. i had painted orchids, peonies, chinese rose, birds of paradise, cala lilies, california golden poppies, and tulips.
but dahlias and the rainbow seemed like they were made for each other. that those TWO THINGS were US. that we, as people were just like dahlias in the way we ordered and constructed our lives. the dahlia with its form for capturing and storing light and moisture, and the exploding rainbow with its blatant and broken spectrum of blasting color.
so i floated those dahlias in space where a million things were happening all at once. everything as one moved into a constellation. i added multiple sided die and glinty bits of ambiguous crow candy for the eye.
vanity and selfism, the star charisma of the rose's nature -- that of desire and death masked as finality -- was just another form of circustry in this new unexploited world of die and glinty, treasury bits spinning and rolling and falling through space, into space, as space. hitting and colliding, forcing loss and explosion and aiding decay.
and there was a war in these pieces which forced them into a liquidity.
that war was between the clarity of stasis and our fascination with movement.
the impressionists, aided ENTIRELY BY THE USE OF THE CAMERA, had learned that aperture values that the camera's limited technology could exploit at the time had shown new essentials.
aperture values taught the impressionists that they could DELETE things from the environment to increase the imaginative suggestibility of the viewers mind.
for example, if i have my focus on the nostrils of a racing horse and progressively blur and fade out the clarity as the horse goes away through foreshortening, the horse's nose will seem MUCH closer to the viewer and more three dimensional than it would if the receding part of the horse were in perfect detailed clarity.
people like manet realized even further, using the same deletion technique of the intelligence, that a glove could literally look MORE glove-like with just three strokes of a brush. indeed, that the SUGGESTION of a glove was infinitely more powerful and perfect to the impression of the piece than an actual glove ever could be.
so in my liquid painting, i envisioned a human circus as exploding rainbow dahlias. our vanity and self-love; our beauty and our grace; and our aging and exploding.
all with dreams of promise, jewelry in the sky, and an unending ability to NEVER grasp much of anything.
and we are constantly coming in and out of focus in our own lives, a living constellatory fascination with ourselves and others creating patterns and habits and occupations.
and that rabbit hole lasted for several years.
it started in 2010/11 as a discovery process and eventually ended up producing over 6,000 images of that world. enough to create an app that could endlessly recreate the world imagined.
and the goal was to document every conceivable color pattern that the human eye could see.
and i think it worked.
it also led to the conclusion of the PIXELWITHIN theory.
which i have elaborated over on torbakhopper's news outlet, lol. the merkaba is a beautiful thing!!
so now the rose.
sometimes slutty, sometimes regaling and proud. sometimes curvy, sometimes more than curvy or with torn edges and hot little shadows.
england had a war over roses.
just like the u.s. had a war over rubber. just kidding. it was all about democracy and partiotism.
and roses are more likely to cause trouble than dahlias.
dahlias are all about the community as a metaphor.
there is a fundamental "coming together" about dahlias.
whereas, honestly, roses are all about falling apart.
this large group of examples are all different now. just like the other forms of liquid painting, CHANGE is a part of the game.
A quote of Albert Einstein declaring that he did not use his rational mind to discover the Laws of the Universe he published.
My understanding is that this is the only temple not to have been named after any Greek god. Rather, the name is said to reflect how well people in the area got on with each other. I also understand that the Temple of Concordia is the best preserved temple outside Greece.
HCC Chancellor Cesar Maldonado and TSU President Austin Lane meet to sign an academic agreement to ease student transferability.
CREATING, USING & PROMOTING GOOGLE+ PAGES PROPERLY
(The Ultimate Tutorial - updated) by Gabriel Vasile
Ok, so I've seen a lot of articles about Google+ pages, but none seemed to be complete and I wanted a fast way of understanding, using and promoting Google+ pages. So I made a slideshow to help you out faster then ever with this new Google+ pages. At the bottom of the post you'll find some interesting articles that inspired me.
This is a very long post, so I recommend after you finish the parapraph to look at the slideshow first. After that you can look at 6 GOOGLE PLUS BUSINESS PAGE VIDEOS YOU NEED TO SEE plus.google.com/u/0/106393478695568433143/posts/M2y8H81RnnF and then you can get some deeper understanding by reading the post if you want to or if you're looking for the links in the photos. Now you can just watch the slideshow. If you like it please share it, (then continue reading) and give me some feedback on the original post: plus.google.com/106393478695568433143/posts/HrEJHUA6ECt
TABLE OF CONTENTS
1. Things you need to know about Google+ Pages
2. How To Create a Google+ Page
3. Customizing a Google+ Page
4. Sharing as a Google+ Page
5. Promoting your Google+ Page
6. Targeting your audience with your Google+ Page
7. Using hangouts for your Google+ Page
8. Optimizing your Google+ page for SEO
9. Measuring statistics for your Google+ Page
10. Cool examples of Google+ pages.
I. THINGS YOU NEED TO KNOW ABOUT GOOGLE+ PAGES
Pages can be made for a variety of different entities whereas profiles can only be made for people.
Businesses can have multiple pages, so your product manager, for example, could run a Google+ Page just for his or her product line, while someone else runs the corporate brand. You could also do pages for particular events, though right now, there’s no event-specific type of support
For smaller companies and brands, there is no verification process that certifies your Google+ Page as yours currently. However, when you verify your email that you added in the contact info, it will show you a small verification badge in the contact info section proving that you are the owner of that email.
Pages can’t add people to circles until the page is added first or mentioned.
Google+ Pages automatically unfollow the users that unfollowed the page.
The default privacy setting for elements on your page profile is public.
Pages have the +1 button.
Pages can’t +1 other pages, nor can they +1 stuff on the Web.
Pages can’t play games.
Pages don’t have the option to share to ‘Extended circles’.
Pages don’t receive notifications via email, text, or in the Google bar.
Pages can’t hangout on a mobile device.
Local pages have special fields that help people find the business’ physical location.
II. HOW TO CREATE A GOOGLE+ PAGE
1. Choose an Accessible Gmail Account (optional)
Set up a new gmail account to make it accessible to multiple members of your marketing team (because multiple admins and ownership transfer are not supported yet, however the Google+ team said they're working on it)
2. Click Create a page or go to plus.google.com/pages/create
3. Pick a categoryur business fits into. The categories are as follows:
Local Business or Place
Suitable for: hotels, restaurants, places, stores, services. Requires the primary phone number of the local business, so it can be located on Google Places.
Local businesses get special listings, and it all starts after you choose the “Local” option by entering a phone number.
Product or Brand
Suitable for: apparel, cars, electronics, financial services
Company, Institution or Organization
Suitable for: companies, institutions, organizations, non-profits
Arts, Entertainments or Sports
Suitable for: films, TV, music, books, sports, shows
Other
Suitable if your business doesn't fit into another category
4. Add Info
Next step is entering your business name and website. After this, you have to select an additional category that suits your business. These sub-categories are dependent on the main category you choose.
For example, for "product or brand" you can choose from the likes of food and drink, arts and entertainment, fashion and beauty, home and garden, etc.
You then need to select who can view your Google+ profile. The default is any Google user, or you can restrict this to 18 and older or 21 and older.
5. Tagline and Photo
You have 10 words to summarize your business in the tagline. After you've done this, you can add an image.
6. Get the Word Out
In the next step Google offers you the ability to tell your personal Google+ circles about your new business page. However, you will not do this right now.
Customize your page even further and start sharing a few updates before you begin telling the world about it. Promoting a blank page isn't a great way to convince people that your Page is valuable enough to add to their Circles. So invest some time into optimizing your page and sharing a few links to valuable content before you start promoting it to the masses.
III. CUSTOMIZING A GOOGLE+ PAGE
To go from your personal profile to one of your page, click on the small down arrow under your name.
Edit your page profile by adding an ‘introduction’, contact info and website. To do this simply click on the blue ‘edit profile’ button.
Your bio allows you to put in your entire service offering. Make it count. It even has a full rich text editor so you can bold, underline and italicize your text, input hyperlinks, bulleting and numbers.
Add Scrapbook Photos. To add images to create a ‘photostrip’ effect, click on the blue ‘edit profile’ button and then click ‘Add some photos here’. See how to make the photostrip effect here: www.siliconbeachtraining.co.uk/blog/how-to-customise-your...
If you want to show geo location information in newly uploaded albums and photos, be sure to check the box under the ‘Photo’s’ tab when editing your page.
Set up a short URL or redirect of some kind that’s memorable. For example for my +Creative Web Design page, I will create www.creativewebdesign.ro/+. That will be easier for everybody to share.
IV. SHARING AS A GOOGLE+ PAGE
Make sure you pre-populate your page with content before announcing it to your fans on other networks. That way, they’re more likely to add you to their Google+ Circles when they get to your page.
You can do many of the same things that a personal account can do, including: share photos, share videos, share links, conduct hangouts.
There are currently 2 calls to action for your potential followers, have them ‘circle’ you (or add your brand page to their circles) and +1 your page.
It doesn’t appear that there’s any support for automatically posting to a page. That’s likely to come as part of a future Google+ API release. Google gave no further update on when this is coming.
Unlike Facebook, Google+ Pages is a little more forgiving if you make a typo in a post or suddenly decide you don’t want people to leave comments or share with others – you can edit the post or change that setting AFTER you’ve posted.
Regularly share fresh content, react and respond to your fans, be engaging, and optimize for lead generation. Then measure, adapt your strategy, and optimize your presence based on your own individual results and goals.
You can disable comments on posts you share via your Brand page. When you disable comments on a post, other people will no longer be able to leave comments (but they can still +1 and reshare it). You can also delete a post or disable resharing if that's what you want.
What NOT to do. Don’t spam. Don’t leave comments in other people’s posts asking them to follow your page. Don’t share to often. You will get your page deleted. And probably your personal account as well. I warned you.
V. PROMOTING YOUR GOOGLE+ PAGE
Link up your Google+ Pages on your website using the Badge Maker so that you get the benefit of the rel=publisher tag and make yourself eligible for Google Direct Connect. To get the custom code, click on the ‘Get started’ link on your brand page profile and then go to the ‘Connect your website’ section.
Cross promote on all your other networks. Post a link to your new Google+ page on your other social media, email newsletters, and on your site, inviting followers there to add your page to their circles on Google+.
Post interesting, relevant content; ask questions that get people to comment and engage; and don’t be shy about asking followers to share your posts with their friends.
Post a variety of content. Make use of Google+’s rich display of photos and videos. Google+ displays media in follower’s streams more prominently and pleasingly than Facebook, so it’s a big “plus” here to call attention to your posts.
Engage with followers. Encourage and participate in conversations about your posts.
Ask your employee base to promote your Google+ Page to their networks. This is doubly easy if your employees are using Google+ for Apps, since you can just send an all-system email. If they’re already on Google+, they should circle the company page first.
Display the +1 button everywhere.
Use your mailing list
Make sure that you promote your page off of Google+ with links, drive users to add you to circles and post regularly on your Google+ page and you may have a better chance of accessing Google+ Direct Connect.
VI. TARGETING YOUR AUDIENCE WITH YOUR GOOGLE+ PAGE
Google Plus makes it pretty easy to sort followers into groups (they call them Circles) and send targeted, relevant messages to these smaller audiences. Brands can create robust content calendars with posts intended just for certain cities, ages, gender and languages.
You get to separate your VIPs, Customers, Following, and Team Members into circles. Meaning you can market to just your VIP customers, just your Team members (think “collaboration” or team updates), your Customers, and then anyone you are Following (think prospect customers).
These are just the default circles, but you can target your audience the way you want it. Just ask your followers where they’re from, what they like and so on. The opportunities are limitless. And free of charge.
VII. USING HANGOUTS FOR YOUR GOOGLE+ PAGE
As previously suspected, they’ve recently integrated Google Docs for brand pages (Hangouts with extras)
As a brand page you have the ability to create Hangouts which can be huge to create that community and collaborate with your partners. It’s also a great way, especially for celebrities, to make that connection to their fans.
The “Hangouts with extras” feature has integrated Google Docs, allows you to name your Hangout, share notes and sketchpad, and allows screen sharing for total collaboration.
VIII. OPTIMIZING YOUR GOOGLE+ PAGE FOR SEO
1. Page name, tagline, introduction, keywords
If you are branding your business, put that as your page name. Then add your tagline and about info using keywords you normally use. Your page name will be the title (see the name in the browser tab).Your page name + tagline will be the META description of the page which are important ranking factors
That means you should use keyword rich descriptions. That doesn’t mean you should use keyword stuffing, just name the page so it matches your site/business and write the tagline and introduction as you would write a description for your site – use keywords but write for people telling them what your page is about.
Fill out the “About” section completely. Be sure to mention your keywords in this section when you can. Like other SEO initiatives, be sure to focus on creating useful, engaging content first, then gently inserting keywords when appropriate as a secondary priority.
Be sure to add a link to your website (and other online assets) in your Recommended Links section. Because you can customize the anchor text, you can make these links extra SEO-friendly by including a keyword in the anchor text when appropriate.
Fill out as many of the fields as you can, and be sure to include various types of media (text, photos, video, etc.) so that search engines see a rich experience when they crawl your page.
2. Tag images
You can tag images you add to your page, so for example, if you have a photo with some famous person in your industry, you can tag that person in your page’s photo.
3. Cross promoting. Link to all of the social networks your brand has a presence. You can customize the name of the link as well.
Include a link to your Google+ Page from your corporate website and other assets such as your LinkedIn profile, your blog, and any other websites you have. Building links to your Google+ Page will help it rank on the first page for your brand name and possibly other keywords as well.
Additionally, your website itself should have +1 buttons. Make sure it is easy for people to “+1″ content and share it with their Circles on Google+.
4. Consider creating multiple pages. You can create a page for each individual stores/franchises or line of products, as appropriate.
5. Once your Page is ready to share, start building an audience. Search engines will recognize your popularity as a sign of authority. That authority will translate in to better rankings as well.
6. When sharing photos. Upload photos, and include descriptions for each photo. Where feasible, add a link to a page on your website with more information on the product or item featured in the photo.
7. When sharing videos. You can do the same for videos: upload videos and include transcripts or summaries of the video content for SEO purposes. Link back to your website for more information where you can.
8. When sharing content. Unlike Twitter or Facebook, Google+ gives you the possibility to write very long messages if you want to. Publish content that your fans will find useful and engaging. When a long-form message is appropriate, try to optimize this content like you might optimize a blog post. Individual posts do get their own URL. So if a post goes viral, it is entirely possible that the post itself ranks well in the search engines.
IX. MEASURING STATISTICS FOR YOUR GOOGLE+ PAGE
1. Using Ripples
Ripples show you:
* Number of public and total reshares
* Names of each follower that reshared your post
* Number of direct public reshares from each follower
* Names with links, comments and relative time of most recent followers with reshares
* A timeline to show the progression of the shares
Things to look for:
* Time of day that most reshares occur
* Time of day that your biggest resharers repost. For example, if we were to look at several ripples and see that +Someone to post or repost around the same time each day, we could almost figure out the best times to get him to reshare stuff he likes (assuming he's following you).
* How influential is your topic?
- to which followers?
- at what time of day?
- to how many people?
* Do resharers comments make a difference? Take a look at the right side and see if they added their own comments to the reshare or did the post stand on its own.
* Were most of your reshares a result of a direct share from you or from reshares from other people?
2. Using third-party websites
CircleCount.com allows you to list your Google+ Business Page in the CircleCount directory. They will show you a nice chart, track the number of new followers you get every day and show you the average numbers for your latest postings (comments, +1es, reshares per posting).
They will also show your CircleRank, a nice follower growth simulation on your profile and the most followed Google+ Pages at www.circlecount.com/pages/
Adding yourself to the SocialStatistics.com directory allows you to track your own Google+ profile or page, giving you follower’s statistics and chart. You can see the most followed Google+ Pages at socialstatistics.com/top/pages
10. COOL EXAMPLES OF GOOGLE PLUS PAGES
+adidas Originals
+Google Chrome
+Pepsi
+Mashable
+Android
+TOYOTA
+Fox News
+HootSuite
+Angry Birds
ARTICLES THAT INSPIRED ME:
How to Set Up a Google+ Brand Page
mashable.com/2011/11/08/how-to-google-plus-brand-page/
How to Get Started With Google+ Pages for Business
www.christopherspenn.com/2011/11/how-to-get-started-with-...
How to Create a Google+ Business Page in 5 Simple Steps
blog.hubspot.com/blog/tabid/6307/bid/28624/How-to-Create-...
Google+ Pages, 11 Tips To Get You Started
socialfresh.com/google-pages-11-tips-to-get-you-started/
HOW TO MAKE YOUR GOOGLE+ BRAND PAGE MORE VISIBLE
greatfinds.icrossing.com/how-to-make-your-google-brand-pa...
Complete Guide to Optimizing Your Google+ Brand Page
www.virante.com/blog/2011/11/09/complete-guide-to-optimiz...
Digging Into Ripples by +Dan Soto
plus.google.com/u/0/114122960748905067938/posts/CWpuKNuDQ1g
13 Cool Examples of Google+ Brand Pages
www.dreamgrow.com/13-cool-examples-of-google-brand-pages/
Link to original post:https://plus.google.com/106393478695568433143/posts/HrEJHUA6ECt
Other useful posts: #gvgpUseful
On 7 November 2019, Imbuto Foundation signed an MoU with DOT Rwanda, to collaborate in the implementation of youth & women programs focusing on Empowerment, Employment, Mentorship & Entrepreneurship Promotion.
Braniff International Airways | Boeing 707-327C | N7097 "Peace On Earth" Operation Understanding | December 1969
I had done this artwork back in February 2007.
* Depicts the first of three Braniff flights charted by H. Ross Perot to bring gifts and medicines to the American POWs being held by North Vietnam. The flights also focused the international spotlight on their treatment as well.
* The aircraft wore special markings for the flight with "Peace On Earth" titles by the aft passenger door and special ribbon decal that unfortunately came off during takeoff from Dallas Love Field.
One of the most complicating factors in creating accurate illustrations (or models, for that matter) of Braniff's 707s in their 1960s Alexander Girard-designed liveries is that no known color chips have survived to this day to be used as a reference. The paint colors were uniquely mixed and subject to batch to batch variation and weathering over time and if an aircraft got touched up, it often resulted in a patchwork appearance. In creating the illustration for the "Peace On Earth" 707, I worked with Forrest Tohill in creating what I feel is the most accurate representation of the Light Green color scheme the aircraft wore. Many contemporary references didn't capture the color correctly and he consulted with Braniff flight crews, cabin staff, and mechanics in determining the proper shade of green.
It was distinct pleasure to meet Captain George Phillips, the last living Braniff captain of these flights.
The other complex factor is that there are numerous discrepancies in contemporary references as to which 707-327C wore which color and when. Many references are based on photographic review which over time the pictures themselves can fade and discolor. Forrest was kind enough to spend time in Braniff's archives at the University of Texas at Dallas reviewing source material to assemble a more accurate fleet list as well as determining as close as can be determined the proper shades of colors used in the 1960s.
Forrest Tohill also had commissioned a beautiful 1/200 scale diecast model of this very aircraft. If anyone's interested in it, let me know, it is definitely on par with the best scale model kits out there and is all metal and finely detailed.
Like a diary
...His presence in my life made me selfless. He made me want to sacrifice. He made me generous. He made me perpetually mindful of his state without ever feeling tired. He never made me feel impatient or angry. He made me notice my rigidity. No matter what he did or what happened, only a single thought emanated form my heart, “Was he happy?”
I did without everything I needed and wanted, missing none of it. He made me break all my deeply ingrained patterns without missing a beat. He made me laugh. He made me reflect. Yet I was the one overtly responsible for him.
He had this effect on me without asking me for any of it, without telling me to do any of it. He was a real Sufi. Not like the one everybody called me, making me wince, just because I stopped partying and didn't gossip. Who was younger than me, child-like and the epitome of sweetness.
As I wrote I knew I had made others feel like Shaan was making me feel. People other than him had made me feel the same. But then there was always a reason that connected me to something in them; blood, beauty, softness, sound. All of what attracted me to them, made me become attached to them, was bestowed by God, but I always forgot Him and became besotted with the one who was the manifestation of His Blessing.
Shaan only saw me and everything I did through Allah alone. I knew that when he walked into my place the first time after he had moved into his apartment and said, "Tareef uss Khuda ki jiss ne tujhe banaya." All praise to Allah who made you the way He made you. It was line from a song in some Indian movie.
I had laughed then and thought it was sweet. But it was something else entirely. He only saw me through Allah and so, for him, everything I did came only through His Lord. I was the means and He was the Source.
Everything I offered, he could have easily done without. He had no need for anything material. But most of all, Shaan made me begin to wonder about love, what it really was. How I had always experienced it with endless intensity yet it now seemed it was always superficial. Shaan was wiping everything out in terms of my understanding of the construct of that which the Sufis called "the first movement of the Universe." At 50, I guess I would be starting anew.
Whomever I loved before, when I thought about them, I thought about them. But with Shaan, when I think of him, I end up thinking of myself. He makes my nafs he focus, not his person. I think of my mistakes with forgiveness. I aspire to be like him. Whenever he gives me things I know I won't eat I take them, then ask his permission before I give them away. I have never done that in my life.
He is a Mo'min so he is a mirror. It's one thing to read something, then understand your self through it. It's entirely another for it to appear before you and you see it.
I was frustrated one day with my niece. I didn't know how to get her to do something I wanted so I asked his advice. He said exactly nothing. In his world there was no making someone do anything. Even one's own self. I guess that's where the sincerity bridge came in for me. When I forced myself to practice that which is beyond my capability and so its execution became false.
I would sometimes plead with people to make them see something that was right for me. Even right for them. It never worked. Shaan was alien to the concept. Yet he was from this world. He was born in it. He lived here. But there was no cunning, no sarcasm, no plotting or planning. Once or twice while talking to someone else trying to persuade them to do something, I winked at him. The second time I did it he said out loud, "I don't know what that means." I think, embarrassed, I just smiled.
I don't know if I will ever be able to figure out which I did to deserve him.
I thought maybe I should start making a list “What I learnt from Shaan today” which came from what I learnt about Shaan today. For instance we went to the park, just him and I. He wanted to play soccer. I wanted to pray at the shrine. I told him to play outside it so he wouldn’t wander off. I went in and then waiting for the Azaan came out again. Just then the call to prayer started.
I saw Shaan standing with the ball in his hand so I walked over.
“Why aren’t you playing?” I asked.
He pointed at the sky and just said, “Azaan.”
Later I asked him why he didn’t play because of it. “We only do one thing when the Azaan comes,” I said to him. We being the ones with money in Lahore. “No listening to music. That’s it! So do you do that out of adab, respect, not play?”
He just looked at me and said, “It’s the Azaan. And it was the Friday prayer,” he said with emphasis as if it made the answer obviously clear.
The next day we were hanging out in my lounge and I started asking him questions about a specific negative pattern. Why did it exist and what was the motivation or cause for it to occur. I guess I was being philosophical. Or pretending to be because I had specific people in mind that I clearly wanted to complain about without naming them. Not that he knew them. And I realized he showed me my lack of sincerity that existed even in a benign conversation.
Every time I created a scenario to describe the behaviour I was thinking about, he would give me an answer I didn’t understand at all. It was like if one said something to a child that was negative and they would say something back that made no sense because they literally had nothing to say about it. So I tried again and again he said something totally random. And I realized what was happening. Shaan never said anything negative about anyone or anything, even conceptually. Ever!
Even the landlady who kicked him out in 7 days, all he did was take her tea and coffee and all kinds of food. Every time he ate, he wanted to share his meal with her. No wonder by the end of it, she was sitting downstairs in his place every time I called him. I was like what the hell!
But she clearly sensed his energy. It was palpably purifying. He made me see what was wrong with me without saying a word about it or about me. I was the exact opposite all the time with every single person I knew. All I did was highlight their flaws, not in a mean way since my intent was to be provide a solution, but nevertheless I would be highlighting their flaws and giving them remedies based on what I was learning. It was insane!
I never even saw Shaan pray. I never asked him about it of course.
Then one evening I said, “In the Quran, Shaan, it says “establish prayer.” Not read it or perform it. “Aqeemu salat” – establish prayer. What does that mean to you?”
Shaan flicked his hair aside and just said matter of factly, “I think it means when you pray, pray with a pure, truthful heart. When it is clean and cleansed of everything.”
I just stared at him. He wasn’t even praying and he was in a state of establishing prayer. Which I had heard Uzair describe as being on the prayer mat the same as off of it; Physically clean and focused on Allah alone. The ablution was a requirement we could fulfill and hope it was correctly performed. But the singular focus on God, zero distraction, who had that in their salat?
My friend Zee asked him while we sat at her house, "Your manners are excellent Shaan. Who taught them to you?"
Shaan was sitting upright on his chair as if it were a stool. He never leaned back when he sat on something. It was the opposite of how I sat.
"Many nice people of very high ranks. I have met them in my life and their akhlaq, (morality and character), is beautiful."
I jumped into the conversation. "Where did you meet them? In the park?"
"I meet them in my dreams," he said looking at me.
Shaan was a lucid dreamer. Whenever I asked him how he slept, he often answered, "I had lovely dreams last night."
For someone who hardly ever remembers a dream, it was noticeable for me that how his night passed was a function of his dreams. While mine was always a function of my restlessness.
"So what do they say to you?" Zee asked.
"They say, 'You are a good kid. You must do good things.' And they always say, 'You must be better and better that what you are continuously.'"
I looked at him in silence. It was amazing to me how Allah Himself raised those who were special to Him. There was no formal training, no reading, no writing. Shaan didn't even have a physical Spiritual Master in his life. Everything that he knew was passed on to him from the Realm of the Unseen by those who were there.
I couldn't help but think of Nabi Kareem (peace be upon him). The verses where Allah calls him an Ummi which almost every translator understood literally as "the unlettered one." But I guess they were ordinary for that was the last thing he was. It was an yet another exclusivity that separated the blessed being of Nabi Pak (saw) from all of Mankind.
Maqam al Ummiyat – The Station of being an Ummi
Tafseer e Jilani :
“Amongst the 124,000 Prophets and 313 Messengers, the maqam, station, of being Ummi is specific to only the Last Messenger (saw). Never before has the word been used previously for any Prophet or Messenger.
The Meaning of Ummi; The word Ummi is derived from the word umm which means origin or source or root. So Nabi Kareem (saw) is Ummi because he is the origin of everything. For example, Mecca is called Umm ul Qura because it is the origin and first of the cities. The Quran is called Umm ul Kitab because it is the foundation and source of all the books.”
I heard a lecture of Sheikh Nurjan Mehramadi of the Naqshbandi silsila about why the Quran uses the word “Ummi” for Nabi Kareem (peace be upon him), the unlettered one, which only the Sufis have interpreted correctly;
Sheikh Nurjan: “The ears of Syaadna Muhammad (saw) submit to Allah alone and there is no human who can change the course of that reality. And that’s why Allah clarified this station of Sayyedna Muhammad (saw) when we say Ummi-hi, it is not that he in unlettered, He is the custodian of all uloom, knowledge, knowledge of awwaleen wa akhireen (beginning to the end), and his holy soul is the fountain of all realities.
But in a way in which Allah wanted to lay a claim that no human has taught this benevolent soul and and no human can come and say, ‘No, I taught him poetry when he was young, I taught him alphabet at this age,’ so that they would stake a claim to have composed the Quran. For Allah is the Best of Planners and He knows how bad humans are that they would try to claim, ‘No, no, these teachers taught and that’s how the Quran came.’
So Allah cleared the field and said, ‘There’s no teacher for this soul but someone who is Shadeed ul Quwa, Immensely Powerful, referring to Himself. He only listens to Allah.”
Shaan had no concept of money. He didn’t care about those things. He had no sense of money and what things cost. I brought him a wireless speaker like I got for myself rom the States and the next day he called me.
“Ma’am you have spent Rs. 50,000 on this speaker for me. It’s too much.”
I smiled. “It didn’t cost 50,000 Shaan (which was about 300 bucks). It cost me 5,000. Don’t worry about it.”
But it wasn’t like the speaker made him thrilled to receive it. Like at 50 I might be if someone gave me something I really liked. That was the reaction I always searched for, waited for with Shaan. The excitement. But it never came. He wanted nothing from the world. He had no attachment to it.
When he moved to my place I told him we should buy him some winter clothes.
"The weather is changing. So I think we should buy material f or a few shalwar kamizes and I can find a men's tailor to get them stitched for you."
"I want two," he declared. "A purple and you pick the other colour."
"I don't know," I said. "Two might not be enough,"
"No," he said with certainty. "One to wear and one to wash."
When I translated a verse from the Quran about the illusive nature of the world we were warned of throughout it, I thought of Shaan again.
إِنَّا جَعَلْنَا مَا عَلَى ٱلْأَرْضِ زِينَةً لَّهَا لِنَبْلُوَهُمْ أَيُّهُمْ أَحْسَنُ عَمَلًا
(Truly we have made all that is on Earth as an adornment for it) that We may try them, as to which of them is best in their deed.
Surah Al-Kahf, Verse 7
Tafseer e Jilani:
Inna ja’alne ma ala alardi: Without doubt We created upon this Earth three basic things; animals and humans, vegetation, and buried treasures. And we created whatever else comes from this Earth; different tastes and different lusts, which are physical or fantasy.
Zeenatal laha: These are adornments for it that make it (the world) beautiful and attractive…
Ayyuhum ahsan amlan: to see which of them (Mankind) has the best deeds and these deeds are the ones which are completed with true guidance and reflection by detachment from the world. And the absence of focus towards it and staying away from its enjoyment which is an illusion. And staying away from the distraction it creates and its lusts which bring with them all kinds of pain and difficulties and desires. It is these wishes which in turn cause different sins and crimes.
It is then imperative that in this world then one lives in a single room and wears a single outfit and eats simply, for everything else is just debris which is transient, which inherits sinfulness and trials.
The other day Shaan and I went to the park. As I sat with him on the back seat, he started reciting poetry. Which he loves to do. Always extemporaneous. I don't understand it usually but once in a while, he catches my attention. On this day, the last line he spoke in Urdu was;
"In your hand is the tasbeeh (rosary), in your hand is the Quran,
Become the namaz!
I was getting dropped off at the shrine. He was going to play with a ball with Usman. The same day later, we were coming home from somewhere. I had been getting up for Tahajjud (the prayer before Fajr) but my nafs and Iblis were both goading me to give it a miss.
"Let's sleep," was my nafs' mantra.
Iblis was more tactical. "How about doing it a day and taking a day off?"
Trust him to say what was going to hit a nerve with me. I had read that fasting every day was not suggested. Doing it on alternate days though was recommended. So that the act, one of the highest in terms of exercising restraint and acquiring mindfulness, taqwa, did not become a routine that was fruitless.
As we came close to my house, I asked Shaan, ashamed by my question, "Shaan, I was thinking. I feel a little tired so maybe I don't pray Tahajjud every single day. What do you think?"
This is after I had done the tafseer of the verse with Qari Sahib;
وَمِنَ ٱلَّيْلِ فَتَهَجَّدْ بِهِۦ نَافِلَةًۭ لَّكَ
And rise from your sleep and pray during the part of the night and extra voluntary prayer,
it may be well that your Lord will raise you (to) a station praiseworthy.
Surah Al Isra’, Verse 79
Wa: And if you want even more closeness (to Allah) and blessings, then awaken your heart and body, in the last part…
Min al layli: of the night and leave sleep out of desiring the Pleasure of Allah…
Fatahajjad bi hi: and pray the Prayer of Tahajjud, prolonging your recitation in it so it becomes…
Nafilatan: extra…
Laka: than the dutied prayers for you. It will increase your Closeness and your honour (before your Lord).
No wonder I felt ashamed.
Shaan said something but he mumbled it so I leaned in.
"I'm sorry?"
And he softly said, "Who can tell someone to not pray Tahajjud."
I leaned back. I thought he was going to say something that was in agreement with my want. That it was ok to skip it or take a break once in a while. But he didn't. He just said;
"Who can tell someone to not pray Tahajjud."
I set my alarm.
A month in I realize Shaan is an Aspie. He's in the spectrum. My friend who works with kids like that told me. I have a close friend whose first born also has Asperger's. It was true. I couldn't get him to do anything.
He still took a shower from the sink. He left the fridge door open. The tap running. The light in his bathroom always on. I called her and she told me I had to put up signs. That my verbal instructions were like Charlie Brown heard an adult - waan waan waan waaan waaan!
I thought about what that meant for me, his being like that and it clicked. I had to learn to accept, through him, what people cannot change about themselves. I had to learn to do it without anger, without impatience, without judgement. I had to learn to do it kindly.
I knew so many people who were unchanging and planning on staying that way. My reaction to them was always the same; hard. I was so easily angered, so easily offended.
وَإِمَّا يَنزَغَنَّكَ مِنَ ٱلشَّيْطَـٰنِ نَزْغٌ فَٱسْتَعِذْ بِٱللَّهِ ۚ إِنَّهُۥ سَمِيعٌ عَلِيمٌ
If an evil suggestion come to you from Satan stirring you (to blind anger),
then seek refuge with Allah. Surely He is All-Hearing, All-Knowing.
Surah Al-A’raf, Verse 200
Tafseer e Jilani:
Wa Imma Yanazaghannaka: So if reaches you whispers which then disappear, thus placing you in a state of disruption…
Min Shaitaan: it is from Shaitaan, who influences you physically through the organs which cause anger and stokes the ego in a way that is only ignorant creating a false sense of dignity…
Nazghun: causing doubts and delusions that persuade you to become angry and take you out of the state that you have been ordered to stay in, which is tolerance and softness of behaviour.
Fasta’iz billah: So come into the Refuge of Allah from these entrapments and return to Him from these doubts and this plotting. He is with His Glory Enough to protect you from his evil and treachery.
Inna hu: Indeed, Allah is Pure from everything that is negative…
Sami’un: and is the Acceptor of your prayers,
Aleem: and the Fulfiller of your needs.
And all I could do was remember one line; "...creating a false sense of dignity..."
I wondered how that was going to go.
It was his birthday yesterday. He turned 47. I still can't over it. He looks like he's 22. Using no fancy moisturizers during the day and cleansing creams at night like the rest of us only a few years older than him. I kept telling him to at least use some lotion on his face as it got colder in Lahore but of course he ignored me.
He wore his new black shalwar kamiz and looked beautiful. His smile is always radiant. Nazli was the only one I asked. She was always kind to him. The others were too busy or didn't care. And now I didn't care.
I thought about it after the party was over and I was in my room alone. Was that it with people? Having a person in the house that one cared for, took responsibility for, worrying about their emotional state, was that what made them indifferent to others?
Ever since Shaan was in my house, I didn't care at all about who I met and who I didn't. I didn't miss anyone. I didn't seek anyone. I played with my coach five days a week at the park. Shaan came with us walking around while I played. Before we started, I played Catch with him.
It was a tennis ball and we threw it at each other only a few feet apart. Shaan brought the ball in a bag he had sewn himself. He washed it before he put it inside and washed it after we played so it was always clean.
I cried as I thought, would I be like the others whose indifference made me sad so many times throughout my life, leaving me perplexed as to why it happened.
Would I?
The thing I started to notice with eagle eyes was the behaviour of every single person in my life towards Shaan. Whether it was kind or not, that was all I cared about. Only two people were; Nazli and Shuggy Aunty. Everyone else acted like a nut. Obviously it didn't have anything to do with him. It was just an unveiling of their state before my eyes.
Shaan didn't care at all what anyone said to him. At all! He was unaffected by everyone's behaviour around him. No matter how personal they got. Or aggressive! He was like the desert upon which fell rain and left it unchanged like it had never been there.
Actually it felt more like the fire that turned to flowers only for Hazrat Ibrahim. Those words people hurdled at him were no less than fire but for him they might as well have been flowers. Once again that which I had only known intellectually came alive for me. People are harsh or rude only when something is wrong with them. But despite knowing that, all my life I took it personally.
When I asked him about them ever, mentioning gently their madness, he dismissed it quite casually. "It's ok Ma'am. I don't mind what anyone says to me. Plus beautiful people have a tendency to be proud," he said matter of factly.
I smiled.
His manner of forgiving made me focus on mine. I realized that when I don't say sorry to someone its because I think of them as lesser than myself. Otherwise I have no problem uttering the word "sorry." I excuses I made to justify not asking for forgiveness after acting like a jerk; it was all masking that I thought of them as lesser than me.
On Christmas I had thought Shaan could give some money to the staff in the house who were Christian. I had money of his that someone had sent me. I had forgotten about it on the morning of the 24th when I went downstairs and saw he was busy with something.
His back was turned me to and I saw scissors so thought he was doing his usual thing; accenting his clothes with pockets and zips. When I came back from the kitchen and entered his room, I saw him coming towards me with two paper bags.
"What is that?" I asked curious.
"These are presents for Aunty Bholi and Safdar."
I looked in. I saw two boxes. Then he leaned in and whispered, "It's only sweets."
I looked at him in amazement. "You made these? The bags and the boxes?"
He beamed. "I made them."
I lunged out and hugged him.
"Wow Shaan! They are so beautiful. "
He had even put string in the bags so one could hold them upright.
When I went upstairs my heart felt elation. There was something about working with your hands, making things with them. That is what all the Prophets did always. Work with their hands. I was downloading music at the time. With my headphones on, a house track blaring, I looked at mine and wished they could make something for someone else as well.
It was a hell of a start to a Friday.
...
(work in progress)
I was in the mood to try and draw Unisphere. So I tried. And I made this little poster in the NY World's Fair's quintessential orange and blue color scheme.
Not only have I learned to accept the Darkness....I have learned to control some of its creatures!
I love the darkness...move over Ktn-Dragon....You have a Dawggie neighbor...with minions!
So you know about transgender women, but what's exactly with this gender thingy? Gender identity is a vast, complex (and interesting!) topic that our 3 minutes videos can't cover entirely (it requires hours!) but we can try to explain a short summary of what's gender identity, applied to transgender wome, in the most simple words possible. Ready? Go!
Got a question, want an answer? Just ask by posting your question into the comments!
My Ladyboy Date is the first decent dating website for transgender women and men who like transgender women. It's free to sign up and review your matches, browse the profiles and watch the photo. Sign up there: myladyboydate.com/signup
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“This borderlessness, or, if you prefer, confusion, is also crucial to what we consider progress. As people invented new tools for new ways of living, they simultaneously created new realms of ignorance; if everyone had insisted on, say, mastering the principles of metalworking before picking up a knife, the Bronze Age wouldn’t have amounted to much. When it comes to new technologies, incomplete understanding is empowering.” —Elizabeth Kolbert
www.newyorker.com/magazine/2017/02/27/why-facts-dont-chan...
Michael Kastner, CAE, managing director, NTEA, and Bob Raybuck, director of technical services, NTEA, presented the session on Tuesday, March 4. Session description: www.ntea.com/WorkTruckShow/index.aspx?id=27490
Believe nothing (but understand as much as you can)
www.youtube.com/watch?v=1S8AKHhNehU
Jack Namaste: www.facebook.com/Jacknamaste
The exhibition "Understanding AI" shows how neural networks are structured and offers visitors the opportunity to train neural networks themselveswith via interactive stations.
Credit: vog.photo
Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„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.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 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.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 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.
Modern dating in the post Branch Covidian Cult times is largely defined by two key rules - the
'Sprinkle/Sprinkle 666 Rule' and the '10 Percent Rule'.
Why does it seem that more and more so-called 'single' women have grossly unrealistic expectations of men and appear to apply the '666 Rule' in all their might-lead-to-romance-and-intimacy activities?
For those who don't know, the 666 Rule is:
- man must be at least 6 ft (180 cm) tall,
- man must have an ultra-fit/toned 6-pack body shape,
- man must have a 6" (150 mm) or larger erect penis,
- man must have at least a 6-figure income.
- man must have traveled overseas at least 6 times and/or to at least 6 different countries.
- man must work less than 6 days a week and be always available at least 6 nights a week for s3x
You can easily add to this:
- man must have a 6-figure bank balance,
- man must have a house worth at least 6 figures that you own outright (not owing any money to a bank).
etc.
-----
Don't also forget the 10 Percent Rule. 8-) See below for explanation...
Online dating is exactly like applying for a job - the ten-percent rule applies... And with the ongoing Covid-19 p(l)andemic it adds another layer into the mix for 'vacci dating' preferences. So here is the 2024 version of 10 Percent Rule (for just a moment put aside the fact that a vast majority of dating site profiles are fakes):
- guy sends 10000000 introductory messages to 'women'
- 1000000 'women' might actually read them
- 100000 'women' might actually then go and explore the guy's profile
- 10000 are ok with the guy's covid vaccination status
- 1000 'women' might actually write back with a response
- 100 of those responses is positive showing genuine interest
- 10 of those women want to meet up for a date
- 1 date ends up becoming more.
So due to the Covid situation and the massively opposed views for and against the so-called 'vaccine' drugs for Covid-19 aka Sars-Cov-2, a guy has a 1 in 10 million (previously 1 in 1 million pre-covid) of actually finding 'the one'.
Pretty sad situation hey.
If we are 'switched on' to meeting people in real life (is that something that online dating is destroying?), the same basic thing applies.
It really is a 'lottery' with a '1 in 10 million' chance of discovering the 'right person'.
1969. Ettore Sottsass designs, for the world company Olivetti, a glaring red provocation made from plastics, which makes him sudden world famous. The “Valentine” is a transportable typewriter for sure, but also a jovial, subversive, mod and emotional statement for a radical new wise of designing products. Bejond the so called good form Sottsass, with ”Valentine” and his design ideas for the legendary Memphis group, had opend the doors for a radical new design understanding, that made him to one of the most significant designers of the second half of 20th century. The E. Sottsass for Olivetti ”Valentine” transportable typewriter a true style icon of 1960s product design.
Leipziger Buchmesse 2014
2014-03-15 (Saturday)
2014_061
2014#126
Minus10GradCelsius (Franziska) 210925 as Master Yi from League of Legends
PrinzDiamond (Vincent) 240755 as Lucian from League of Legends
Despairs (___) 271036 als Lux [Imperial Skin] (League of Legends)
Thank you for any group invites which I will gladly accept. However, if I can't check the content of such groups ("This group is not available to you") I'd rather not add any of my photos. Thanks for your understanding.
Frans van Mieris the Elder (1635-1681), active in Leiden
Cavalier in shop, 1660
The key to understanding of the genre painting provides the ambiguous Latin inscription on the bunting for that different translations are possible, eg. As "buys it, who wants" or "compares it, who wants". This saying refers to the comparative touching of the fabric and the girl chin by the cavalier. The relation of the old man at the fireside to this process remains unclear. The hanging in the background image with the death of Abel can probably be interpreted as a reference to the consequences of original sin.
Frans van Mieris der Ältere (1635-1681), tätig in Leiden Kavalier im Verkaufsladen, 1660
Den Schlüssel zum Verständnis des Genrebildes liefert die doppeldeutige lateinische Inschrift auf dem Fahnentuch, für die verschiedene Übersetzungen möglich sind, z. B. "es kauf, wer will" oder "es vergleicht, wer will". Dieser Spruch bezieht sich auf das vergleichende Befühlen des Stoffes und des Mädchenkinns durch den Kavalier. Die Beziehung des alten Mannes am Kamin zu diesem Vorgang bleibt unklar. Das im Hintergrund hängende Bild mit dem Tod Abels ist wohl als Hinweis auf die Folgen der Erbsünde zu interpretieren.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building.
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währinger street/Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the Opera ring, and Ludwig Zettl the southeast side of the Grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience of Joseph Semper with the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper subsequently moved to Vienna. From the beginning on, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times.
Dome hall
Entrance (by clicking on the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891, the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol needs another two years.
1891, the Court museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his "Estensische Sammlung (Collection)" passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d'Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The Court museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain on 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House", by the Republic. On 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of Ancient Coins
Collection of modern Coins and Medals
Weapons collection
Collection of Sculptures and Crafts with the Collection of Ancient Musical Instruments
Picture gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the German Reich.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to bring certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. To this end was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief, in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections, in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections, in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum also belon the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Upper and Lower Table Rocks are two of the most prominent topographic features in the Rogue River Valley. These flat-topped buttes rise approximately 800 feet above the north bank of the Rogue River in southwestern Oregon. Upper and Lower refer to their positions relative to each other along the Rogue River; Lower Table Rock is located downstream, or lower on the river, from Upper Table Rock.
The Table Rocks were designated in 1984 as an Area of Critical Environmental Concern (ACEC) to protect special plants and animal species, unique geologic and scenic values, and education opportunities. The remarkable diversity of the Table Rocks includes a spectacular spring wildflower display of over 75 species, including the dwarf wooly meadowfoam (Limnanthes floccosa ssp. pumila), which grows nowhere else on Earth but on the top of the Table Rocks. Vernal pool fairy shrimp (Branchinecta lynchi), federally listed as threatened, inhabit the seasonally formed vernal pools found on the tops of both rocks.
The 4,864-acre Table Rocks Management Area is cooperatively owned and administered by the Medford District Bureau of Land Management (2,105 acres) and The Nature Conservancy (2,759 acres). Memorandums of Understanding signed in 2011 and 2012 with the Confederated Tribes of the Grand Ronde and the Cow Creek Band of Umpqua Tribe of Indians allow for coordinating resources to protect the Table Rocks for present and future generations. A cooperative management plan for the area was completed in 2013.
From Interstate 5, take Exit #33 heading east one mile on East Pine Street and turn north at the signal onto Table Rock Road. Drive 5.3 miles to Modoc Road and turn north. The trailhead is accessible off Modoc Road.
The Upper Table Rock trail is approximately 2.5 miles round trip with an elevation gain of 736 feet. Allow 2 to 3 hours for the entire hike. It is an easy/moderate trail with some steep sections. Good sturdy shoes and water are strongly recommended. There is no water available on the trail or at the trailhead. This trail is suggested for first time hikers.
On your ascent up the trail keep an eye out for the unique monolith rock formations. These irregular shaped monoliths may have been part of the original lava flow. On a clear day the summit offers a spectacular panoramic view that includes the Rogue River valley, Mt. McLoughlin, Mt. Ashland, and Pilot Rock.
For more info on this super-cool Oregon spot head on over to: blm.gov/z3ld
This quotation comes from the Ontario math curriculum and points out, for me, that math instruction needs to be investigative. If math teachers simply teach concept after concept until the next unit test, the students will only remember the material until the next unit test.
But if students are challenged by a real life problem, that needs to be investigated and the math needed to solve the problem needs to be understood to help, then deeper understanding would occur.
Further proof that the people who make Flickr are smart and beautiful and worthy of our admiration: They understand data.
In programming, there's a lot of temptation to make "magic numbers." Like, this value is always a number, except for this one special case, so I'll just set it to -1 (or 99, or 0) in that case, and use the code to check for that. Or maybe, I want to store a date here, but sometimes the users don't know the exact day, so I'll just set the day to the first (or the 15th) of the month in those cases.
No, instead, unknown data is unknown. And that's as it should be. That's what null is for.
In the Organizr, ludicorp demonstrates that they get it. You can enter the date your photo was taken, but you can also be vague. If you choose to be vague, the display page for the photo is also vague. Think of it as avoiding the evils of precision without accuracy. Think of it as maintaining significant figures.
Think of it as beautiful.
A Ukrainian soldier talks with U.S. Army ROTC cadets during a Cultural Understanding and Language Proficiency Program trip to Rapid Trident 2012 held at the International Peacekeeping and Security Center in Yavoriv, Ukraine, July 18. Rapid Trident is a multinational exercise held at the International Peacekeeping and Security Center in Yavoriv, Ukraine. It is designed to promote regional stability and security, strengthen international military partnering and foster trust while improving interoperability between participating nations.(Photo by Lt. Col. Taras Gren, Ukrainian Army Public Affairs)
I take a number of photos to stretch my understanding of the capability of my equipment. For example, this shot was taken in a shadowy barn, f6 420mm, ISO 3200. While I did brace myself against a wall, the camera was handheld. There were some contrast tweaks in Lightroom, but I now have a new appreciation for my gear.