View allAll Photos Tagged Understanding
Martin Creed
Work No. 2630 UNDERSTANDING, 2016
Red Neon, Steel
Approx dims: 21 3/5 x 50 x 2 1/8 ft / 658.6 x 1524 x 66 cm. Base 25 x 25 feet at top / 33 x 33 feet at bottom
Presented by Public Art Fund, May 4 – October 23, 2016 at Pier 6, Brooklyn Bridge Park
Courtesy the artist, Gavin Brown’s enterprise New York/Rome, and Hauser & Wirth
Photo: Jason Wyche, Courtesy Public Art Fund, NY
© Martin Creed 2016
An introductory video, showing an artist concept of a Moon Base, is seen at the start of the the Golden Age Summit and the signing of a new Memorandum of Understanding between NASA and the Department of Energy, “Accelerating American Leadership in Space Nuclear Power and Propulsion”, Thursday, Oct. 8, 2026, at the Donald J. Trump Institute of Peace in Washington. Photo Credit: (NASA/Bill Ingalls)
Bridgepixing the Vigeland Sculpture Park Bridge, Oslo, Norway.
Vigeland Sculpture Park is a park located in the district of Oslo called Frogner, west of the city centre, in the centre of the large Frognerparken, which belongs to the Frogner Manor. Probably the most famous park in Norway, it was created by sculptor Gustav Vigeland between the years 1907 and 1942. Most of the sculptures date from the years 1926 to 1942. The park has as its theme what could be called the "Human Condition." Most of the statues depict people engaging in various typically human persuits, such as running, wrestling, dancing, hugging, holding hands and so on. However, Vigeland occasionally included some statues that are more abstract, and to some degree defy understanding. Such as the "Man attacked by Babies" statue, which shows an adult male, fighting off a horde of tiny babies. One of the main attractions to the park is The Monolith, (Monolitten). At over 14 meters tall, the column is covered with entwined human bodies and is carved out of a single block of stone. Another well known sculpture is that of an angry young boy (Sinnataggen), located on the bridge of the park. Vigeland park is a well known picnic area, popular in the summer for sunbathing, games, and relaxation. (Wikipedia)
I have been revisiting the blogs I wrote for the trip, adding detail, which I hope gives a fuller picture of the stuff we did.
Anyway, this was our first full day, on which we had our own private guide to show us round the city; the Imperial Garden, the Public Fish Market, the Commercial Area and Shibuya.
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With the red wine and and beer drunk on the rooftop bar, I slept long and deep, as did Jools, so it came as a shick to be woken at eight by Jen telling us it was time for breakfast. We have a quick shower each, the go to the restaurant at the top of the building for a choice of French toast and bacon or something Japanese. We chose French Toast as we did all three mornings, along with coffee and fruit.
Outside it was a glorious day, and felt like summer on the inside of the ceiling to floor plate glass windows. Phew, its gonna be a scorcher! And what better way to spend the day than with our very own private tour guide.
What better indeed.
We met Maki at nine, and after some introductions, it was decided to go to Tokyo Station to exchange our vouchers for rail passes, thus making the rest of the travelling on the holibob possible. It also allowed us to be shown how to use the Metro, swiping our cards and looking at the map to plan a route. Handily, all lines have letter prefixes, and each station is numbered, so we were staying near K19, and to find our way back, get to the K line and go to the end, and Bob's you Aunt's live in lover. As it were.
We walked to the subway station, passing the lines of people waiting to go into the Thunder Gate temple, and also the gangs of rickshaw drivers touting for business with their tight buns and all dressed in the same way.
I was in heaven, I have been dreaming of travelling on the Tokyo Subway, but I was doing it for real, and snapping. All.The.Time.
We had to change a few stops along the line to get onto an overground suburban line for the run into Tokyo station. I was happy enough looking at the people queuing nicely on each platform as I looked over the lines of platforms. On each platform were more vending machines, but as ever I made do with snapping the scene and the people, always interesting
We arrived at Tokyo Station, Man, it was already hot, but Maki pointed out the profusion of vending machines. Everywhere, and for 110 Yet you can buy a half litre of cool h2o.
She lead us through various parts of the station to the rail tour office, we all filled out a lengthy form, then we were given our pass which gave us unlimited train travel for two whole weeks. We take in the scene of the main concourse, and the high arched roof of the reception hall outside the tourist office. We all take shots of it.
That done and the fact the Imperial Gardens were nearby, that is where we walked to next, through a maze of modern glass skyscrapers, over half empty 6 lane roads, and to the entrance to the gardens. Once upon a time it was the residence of the Emperor, he still have a third of it or something, but the rest is a public garden, which is littered with historic buildings, defensive walls and the remains of castles and storehouses and the like.
We walk along the main road before taking the path to the main entrance, between two ornamental lakes which reflected the walls and the modern city behind. We pay to go in for us and our guide, then entrance we walk through massive wooden gates, about 18 inches thick and made form the hardest wood I have seen.
All along the path, as it climbed, and forming the base of buildings, were walls made of massive stones, interlocked together like a giant 3D jigsaw, but built using no mortar, and some of the stones must have weighed tons, and carved into irregular shapes, so tight did they fit together that no vegetation grew from between them.
Did I mention it was hot? It was hot.
But the gardens were sensational, and gave us an understanding of the different prefectures in Japan, as all were represented. Also there was green tea plants and bamboo. And on the wing I saw three different species of swallowtail butterfly, but I had left my macro in the hotel, so made do with watching them flit about.
The path wanders through the gardens, view open up, across flower beds or lakes, but it doesn't seem crowded at all. It was coming to the end of the wisteria season, and hanging from the roofs of some of the shelters were long strands of the colourful plant. Little did we know that we would see wild wisteria trees in about ten days high up in the hills.
We go further into the gardens, in time coing to a wide flat park-like area. People are having picnics already, but Maki leas us on, past the music hall, all colourfully decorated to an elevated platofrm, once again made of the same stones described before, which once was the base for the large imperial castle, all of that is long gone. But from the top, once I had huffed and puffed up the steep slop, was the roof of the Budokan music hall, once THE venue to record a live album, like Cheap Trick and MSG.
We had seen enough, probably, but we were just so hot already, and jet lagged, so we trailed behind Maki as she lead us back to the main entrance out of the Imperial Gardens.
We take a time out to have some water from a vending area before completing the tour round the gardens, before walking to Tokyo Station again, but this time getting a bus to the commercial area for a walk round the public fish market.
It was hotter.
We climb on an air conditioned bus and wait for it to depart, but it seems cool enough, of maybe we're just getting used to the heat already. We leave and are treated with views of the commercial heart of the city, or one of the commercial hearts anyway. It all looks wonderfully exotic. A couple behind me asks if we were passengers off a cruise ship that they had seen dock earlier; he was an American now living here with his Japanese partner. I say that we had just flown in, and were on this guided tour, and there were really interested about the things we were doing. He said he really liked living in Tokyo, and I'm sure its a place that never fails to amaze.
It seems all tourists in Tokyo, and a good proportion of its residents also had the same idea, as it was like Venice on a very busy day.
And it was hot.
We start off walking over the main road, then down some of the merchants proper, where through open doors we can see fish being prepared; people ran about, trucks were reversing and the number of people increased.
The sights and smells were fabulous, but the lanes were narrow and choked with people, all walking at different paces, some eating, some drinking and some walking with their family. We were trying to keep pace with Maki. Obviously most stalls and shops sold seafood of some kind, but there were fruit and vegetable stalls too. We were tempted to buy something, but it was hard to know where to start, and we puzzled over many of the items on sale, each with just signs in Japanese, of course. Most of the dried seaweed looked the same, but must be different in taste if nothing else.
I take a few shots, mainly of the crowds to be honest, it is just wonderful, but the crowds and the heat mean it isn't really enjoyable, but looking back on it now, I can say I loved it. Maki turned to head down another narrow alley, and I say out loud, "oh no, not another one" as it was all becoming too much. We were hot, and the others hungry.
After an hour of walking and looking, and it being half one, it was decided that it was lunchtime. Over the main road bordering the market was a swish sushi place, who had tables at the counter, so we could watch our food being prepared. Only I wasn't hungry, so made do with some rice and simple sushi whilst Jools and Jen had a set meal. I drank some ice cool beer.
I had another. I had a salad, which I struggled to eat with chop sticks, so the chef who had been appointed to serve us provided me with a fork.
We walked back outside, and down the busy street, me catching glimpses into the gambling halls and shops that abounded. I took shots all the time of course.
After that we walked through the commercial area to the Tokyo version of Harrods to look at their food halls. None of us are big shoppers really, and we did it as Maki made it sound like a great thing, and some of the displays were wonderful for sure. The displays even outshone anyhing that Harrods had last time I went; the food looked perfect and freshly baked food from all over the world was available, including from Britain. Once again we bought nothing, not know which queue was for which counter. Even the bentos looked like art, and local people seemed to be buying stacks.
Finally she took us to the trendy area, really, so we ccould look round the best souvenir shop in the city. We were not sure when or if we would see souvenir shops, so we did buy a few things for friends, family and ourselves. Jen bought a dressing gown kind of things, and I bought a wall hanging and some small trinkets for friends. We then said to Maki that we had enough confidence to use the metro, and as we were by Shibuya, where I wanted to snap in the evening, we would bid her farewell one hour early, and we would look for a coffee shop.
After looking in a couple, we found a place in a rooftop place, in the shade, but it was still warm, so we order ice coffee and take the weight off our feet, which after a day's travelling, maybe a seven hour forced march round Tokyo in 30 degree heat wasn't the best thing. But we had survived, but our legs and feet we making some complaints. People were coming and going all the time, all were smiling, and enjoying the very warm sunshine. Teens looked perfect in their smart clothes and make up, whilst couples had neatly wrapped packets and parcels in chic bags. And there was us, sweating like the Brits out of water we were, but no one cast us a second glance.
A couple came up looking for a table, and we offer them ours, and they are so thankful, and we all bow to each other and smile.
We took a Metro to Shibuya, and then went looking for the famous crossing, but we were an hour early, so maybe we should find something to eat. There was flashing neon lights everywhere, and it was all a bit confusing to be honest. Then Jen says there's a place to eat on the top floor of the mega camera store near us. I have no idea how she spooted that, maybe I was sidetracked by all the flashing lights and the wonderful things and people to photograph.
So we take the lift to the top floor, and are shown to a booth overlooking the street below, and shown how to use the tablet to order food and drinks. Some of it was even in English, which was nice. We order some nibbles and drinks, and pressed send. Twenty minutes later the food arrived, but no drinks, we called the waiter and sent him to fetch beers.
The food was things like chicken on sticks, and sausage; the only place we saw a sausage the whole trip.
And all was good, in fact we mellowed out and enjoyed looking out as the light faded and the neon shone brighter.
We went downstairs and I went looking for the crossing, a six-way pedestrian crossing that is iconic, I took a place looking towards the brightest lights and snapped away.
We walk to another intersection and I try to make sense of it all, all the while taking shots, of course. I look down one of the road, under a railway bridge, and I think that might be the busy intersection I was hoping to snap.
It was, and with traffic zooming across at high speed, then every 5 minutes all traffic is stopped, and all pedestrian crossings switch to green and then there are hundreds, if not thousands making their way across the roads. Tow of the crossings even went diagonally across the crossing, the mixing in the middle.
It was a scene you can only imagine, I switched to the wide angle and slowed the shutter speed down and snapped some more. There was still some light in the sky, so the shots were pretty darn perfect, even I says so myself.
Happy with my shots, and the fact our legs and feet were screaming, we made our way back to the Metro then back to the hotel and back to the rooftop bar. The shops outside the Thunder Gate were rammed with people, and we had to really force our way through, but in a nice way.
It was a heck of a day, and we had achieved so much. And found our way back with no trouble either.
We played cards on the roof, with the Sky Tree shining a mile away, looking wonderful, and so we decided that we would go there the next evening. It was a much warmer evening, so we could sit under the starless sky whilst we played Meld. That and drank beer, wine and Gin, but not from the same glass, obvs.
Cheers
This stunning sculpture measuring 7 meters in diameter by artist Luke Jerram was on exhibition in the marble salon of Wentworth Woodhouse. At 1.8 million times smaller than the real Earth each centimetre describes 18km of the actual Earth's surface. The globe it illuminated internally.
Gaia, a touring artwork by Luke Jerram, is a stunning replica of our planet, created using 120dpi detailed NASA imagery of the Earth’s surface. The sculpture provides an incredible opportunity to view Earth as it might be seen from space, floating in three dimensions.
We have gazed up at the Moon for millennia, but the first time humankind got to see the Earth in its entirety—as a ‘Blue Marble’ floating in space—was in 1972 with NASA’s Apollo 17 mission. Our perception and understanding of our planet changed forever. Hanging in the black emptiness of space, the Earth seems isolated, precious and fragile.
A specially made composition by composer Dan Jones was played alongside the sculpture.
www.scienceandmediamuseum.org.uk/what-was-on/gaia-luke-jerram
photographer: xergs
location: malasag cdo,Philippines
Living gives you a better understanding of life. I would hope that my characters have become deeper and more rounded personalities. Wider travels have given me considerably greater insight into how cultural differences affect not only people, but politics and art.
--Alan Dean Foster--
Flying through space on a spinning rock...
whipping around the sphere of fire that gripped the whole ball from ninety three million miles away...
cruising around that fireball at sixty seven thousand sixty two miles an hour...
and spinning in circles around the planet's axis at another thousand miles an hour yet.
On the edge of land and sea I sat and watched with awe the spectacle that is the carnival ride that we're all on together...
Hurtling through this vacuum in circles just fast enough to keep from falling into that ball of fire that holds us tenaciously in it's grip.
The water moves with it all... sloshing and slapping at the shore... making fountains of it's energy when forced against the solid rock on which I sat to ponder.
It all seems so alive.
Everything is moving as if it had some purpose.
Some destiny more so than to simply and elegantly uphold Newton's First Law.
And so a thousand miles an hour is deducted from my velocity for I sit on the side of the Earth that spins at that moment away from the sun... my speed is reduced to sixty six thousand miles an hour and change and I didn't even feel the thousand mile per hour deceleration.
And then of course the Sun itself and all of the planets of our solar system with it are spinning around the black hole that is the center of our galaxy at another four hundred and eighty three thousand miles per hour...
And all the while the whole shebang... including that massive black hole moves even faster still towards the constellations of Leo and Virgo at 1.3 million miles per hour!
No one really knows why we're cookin' so fast in that direction but people who know this stuff think that there is something there called 'The Great Attractor.'
If you add it all up and figure for the instances when your revolutionary speeds are lined up with the major course of our screaming velocity towards the 'Great Attractor'... get ready for something only Viewminder's gonna tell you...
at times... you are moving at 1,851,062 miles per hour... one million eight hundred and fifty one thousand and sixty two miles per freakin' hour!
That's 30,851 miles per minute.
You're flying through the universe at 514 miles PER SECOND!
Every day you travel more than forty four million miles!
44,000,000 miles!
I didn't sit down on the rocky shore to think of this shit.
If I could have convinced my shrink to hook me up with a prescription for some medical marijuana maybe I could have just sat there and enjoyed the ride.
I was just enchanted by the sound of the waves pounding against the rocks.
Their endless crashing and splashing seemed to me to be driven by some vast and powerful force of energy.
I sat there intrigued by all of this and though I could not tell you with an ounce of certainty my place within it all...
I can tell you that I FELT it.
I felt the motion of everything and if I knew one thing it was that we are flyin' through a vast universe at a wicked high rate of speed in a complex range of motion that can be explained with a handful of physics on the back of a cocktail napkin.
You and me are freakin' flyin' through space towards something.
Really fast.
What a wonderful and mysterious existence this is.
A profound complexity and an infinitely improbable thing to be sitting on that rock in the middle of it all thinking about where it's all headed.
Sometimes maybe you and I don't know just where we belong.
But you get out there for a little while and surf the universe and you'll know one thing for sure.
You belong.
You are a part of it all.
Our text-book tackles the history, aesthetics, culture (and much more) of video games (now in stores)
During this record heatwave Elvis has decided to do his part and provide the world with the following lifesaving information - Elvis Kennedy's Guide to Understanding the Color of Your Pee and How it Can Be Used to Save Your Life.
First developed by Elvis during his Tour de France days as a guide to be used during cycling in the summer months, it has since been adopted by athletes of every sport, as well as working stiffs who must deal with heat and dehydration in their daily grind. It's especially useful for photographers working long hours in the baking sun.
With the general public now facing record temperatures this guide can be used by every man, woman and child as a quick and easy, down and dirty, handy-dandy, post on your bathroom mirror and on your refridgerator - guide to see if you have been drinking enough fluids.
Study this chart and you'll never look at your pee in the same way again. Ever.
Drink more water. Save yourselves. Elvis cares.
For more go to www.elviskennedy.com
Facebook pages -- Understanding your Facebook page
facebook.daveshirley.net/facebook-pages-understanding-you...
Download Our Free Facebook Cheat Sheet here
facebook.daveshirley.net/fbcheatsheet
What is the purpose of a Facebook page? For one of the purposes of a Facebook page is to give you the ability to reach customers where they are in their location from around the world.
One of the cool things about Facebook, is it people all over the world visit it. They visit Facebook to connect with their friends and even family members as well as other things that they enjoy and have interest in. These things may include businesses and organizations just like yours.
Your Facebook page, if designed correctly, can help you tremendously in marketing your business or cause. Your Facebook page is a place for customers can in turn learn about you, your products, and even your business services. your customers will learn on your page about the things you from old, they will do so in your news feeds, and the constantly updating list of your unique stories that you post on Facebook.
One of the best things about your page is the fact that it is free to you, it is easy for you to set up, and your Facebook page helps people to find you on facebook.
Facebook pages, built for businesses and mobile users
According to online resources, well over a billion people visit Facebook pages each and every month. And according to several articles online more and more individuals are visiting Facebook pages on their smartphones weather Android or Apple each and every day. For you to use your facebook it is never been more important to you or for your business, for it to be readily accessible on mobile devices.
Facebook pages, well simply put they work great on mobile devices. Your page on Facebook will make it easier for you to daily communicate with your customers. On your Facebook page youTo help your customers and help them make purchases, and even keep them coming back for more.
If you're into apps, then you will enjoy the Facebook pages manager app! This app is free and available on both Android and Apple products. With this app you can manage your Facebook page or pages very quickly and respond to your customers request no matter where you are.
Facebook pages, drives customers to take action
What is it about Facebook page? That makes it easy for customers eagerly learn more about you and your business? well and give them up to date information about how they can start using your products and/or services. Your unique page will always be loaded with all the up-to-date features available on Facebook which will enable you to accomplish all your unique business goals, no matter what business line or niche market you are interested in.
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Dave Shirley
Find me on Facebook at www.facebook.com/dave.shirley.522
When it comes to asphalt paving, generally speaking there will be multiple options in the area. This is fairly difficult specialty work in the individuals who are good at it generally advertise the fact that they specialize in the specific type work. Whether you are looking to get a gravel driveway finally paved or a business needing some work done, you will find there are many options available that meets your specific needs.
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MIDIA ARTE / MEDIA ART
[fladry + jones]: Robb Fladry and Barry Jones – The War is Over 2007
Agricola de Cologne – One Day on Mars
Alan Bigelow – “When I Was President”
Alessandra Ribeiro Parente Paes, Daniel Fernandes Gamez, Glauber Kotaki Rodrigues, Igor Albuquerque Bertolino, Karina Yuko Haneda, Marcio Pedrosa Tirico da Silva Junior. Orientadores: Mércia Albuquerque e Mauro Baptista – Reativo
Alessandro Capozzo – Talea
Alex Hetherington – Untitled (sexback, folly artist)
Alexandre Campos, Bruno Massara e Lucilene Soares Alves – Novos Olhares sobre a Mobilidade
Alexandre Cardoso Rodrigues Nunes, Bruno Coimbra Franco, Diego Filipe Braga R. Nascimento, Fábio Rinaldi Batistine, Yumi Dayane Shimada. Orientadores: Mércia Albuquerque e Carlos Alberto Barbosa – Abra Sua Gaveta
All: Alcione de Godoy, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Machina
Andreas Zingerele – Extension of Human Sight
Andrei R. Thomaz – O Tabuleiro dos Jogos que se bifurcam
Andrei R. Thomaz – First Person Movements
Andrei R. Thomaz e Marina Camargo – Eclipses
Brit Bunkley – Eclipses
Brit Bunkley – Spin
cali man – appendXship
Carlindo da Conceição Barbosa, Kauê de Oliveira Souza, Guilherme Tetsuo Takei, Renato Michalischen, Ricardo Rodrigues Martins, Tassia Deusdara Manso, Thalyta de Almeida Barbosa.
Orientadores: Mauricio Mazza e Carlos Alberto Barbosa – Da Música ao Caos
Christoph Korn – waldstueck
Corpos Informáticos: Bia Medeiros – UAI 69
Daniel Duda – do pixel ao pixel
Daniel Kobayashi, Felipe Crivelli Ayub, Fernando Boschetti, Luiz Felipe M. Coelho, Marcelo Knelsen, Mauro Falavigna, Rafael de A. Campos, Wellington K. Guimarães Bastos. Orientadores: Mércia Albuquerque e Gizela Belluzo de Campos – A Casa Dentro da Porta
David Clark - 88 Constellations for Wittgenstein
Thais Paola Galvez, Josias Silva, Diego Abrahão Modesto, Nilson Benis, Vinicius Augusto Naka de Vasconcelos, Wilson Ruano Junior, Marcela Moreira da Silva. Orientadores: Paulo Costa e Mauricio Mazza – Rogério Caos
Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 1/2
Agence TOPO: Elene Tremblay, Marcio Lana-Lopez,Maryse Larivière, Marie-Josée Hardy, James Prior – Mês / My contacts
Eliane Weizmann, Fernando Marinho e Leocádio Neto – Story teller
Fabian Antunes Silva – Pusada Recant Abaetuba
Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre
Fernando Aquino – UAI-Justiça
Henry Gwiazda – claudia and paul
Henry Gwiazda – a doll`s house is……
Henry Gwiazda – there`s whispering......
Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse
Isabel Margarida Aranda Mansilla – Cyber Birds Dance
Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7
Jorb Ebner - sans femme et sans aviateur
Josephine Anstey e Dave Pape – Office Diva
Joshua Andrew Fishburn – Layers
Joshua Andrew Fishburn – Waiting
Joshua Andrew Fishburn – Peculiaris
Kevin Evensen – Veils of Light
lemeh42: santini michele e paoloni lorenza - Study on human form and humanity #01
Linda Hilfling Nielsen – misspelling generator
Lisa Link – If I worked for 493 years
Marcelo Padre – Estro
Martha Carrer Cruz Gabriel – Locative Painting
Martin John Callanan – I Wanted to See All of the News From Today
Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura
Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura – Homo ex Machina
Michael Takeo Magruder – Sequence-n (labyrinth)
Michael Takeo Magruder – Sequence-n (horizon)
Michael Takeo Magruder + Drew Baker + David Steele – The Vitruvian World
Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary)
Nurit Bar-Shai – Nothing Happens
projectsinge: Blanquet jerome – Monkey_Party
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno – WATERCOLEUS PARK
rachelmauricio castro – 360
rachelmauricio castro – R.G.B.
rachelmauricio castro – tybushwacka
Rafael Rozendaal – future physics
Regina Célia Pinto – Ninhos e Magia
Ronaldo Ribeiro da Silva (Roni Ribeiro) – Bípedes
Rubens Pássaro – ISTO NÃO É PARANÓIA
Rui Filipe Antunes – xTNZ
Selcuk ARTUT & Cem OCALAN – NewsPaperBox
Stuart Pound – Dominat Culture
Stuart Pound – SF
Stuart Pound – Life on Mars
Susan Jowsey and Marcus Williams – The Trouble
Tanja Vujinovic – Osciloo
Weinberger Hannah – “Without Title”
CINEMA DOCUMENTA
Antonello Matarazzo – Interferenze
Bruno Natal - Dub Echoes
Carlo Sansolo - Panoramika Eletronika
Kevin Logan – Recitation
Kodiak Bachine e Apollo 9 – Nuncupate
Linda Hilfing Nielsen - Participation 0.0
Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie
Matthew Bate - What The Future Sounded Like
Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music
CINEMA DIGITAL
A Study of 4D Julia sets
Baraka / Baraka from DVD to 4K / Baraka with the monkey
Beatbox360
Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)
Era la Notte
Flight to the Center of the Milky Way
Growth by aggregation 2
Jet Instabilities in a stratified fluid flow
Keio University Concert
Manny Farber (Tribute to)
Scalable City
The Nonlinear Evolution of the Universe
The Prague train
FILE INOVAÇÃO / FILE INNOVATION
Interface Cérebro-Computador – Eduardo Miranda
Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia
Robô de visão omnidirecional – Jun Okamoto
Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik
Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.
GAMES INSTALAÇÕES / INSTALLATIONS GAMES
Giles Askham – Aquaplayne
Jonah Warren & Steven Sanborn – Transpose
Jonah Warren & Steven Sanborn – Full Body Games
Fabiano Onça e Coméia – Tantalus Quest
Julian Oliver - levelHead
GAMES
Andreas Zecher – Understanding Games
Andrei R. Thomaz – Cubos de Cor
Arvi Teikari – Once In Space
Fabrício Fava – Futebolando
Golf Question Mark – Golf
Introversion.co.uk – Darwinia
Jens Andersson and Ida Rödén – Rorschach
Jonatan Söderström – CleanAsia!
Jonatan Söderström – AdNauseum2
Jorn Ebner – sans femme et sans avieteur
Josh Nimoy – BallDroppings
Josiah Pisciotta – Gish
Marek Walczak and Martin Wattenberg – Thinking Machine 7
Mariana Rillo – Desmanche
Mark Essen - Punishment: The punishing
Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST
Playtime – SFZero
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK
QueasyGames - Jonathan Mak – Everyday Shooter
R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War
Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day
Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm
Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain
Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard
Tanja Vujinovic – Osciloo
ThatGameCompany – Jenova Chen – Clouds
ThatGameCompany – Jenova Chen - flOw
JOGOS BR
JOGOS BR 1
Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive
Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.
Cim-itério - Wagner Gomes Carvalho / Green Land Studios
Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.
Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira
/ Gamion Realidade Virtual & Games
Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.
JOGOS BR 2 – Jogos Completos
Cave Days - Winston George A. Petty / Insolita Studios
Peixis!
(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics
JOGOS BR 2 – Demos Jogáveis
Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games
Conspiração Dumont - Guilherme Mattos Coutinho
Flora - Francisco Oliveira de Queiroz
Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.
Inferno - Alexandre Vrubel / Continuum Entertainment Ltda
Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho
Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza
HIPERSÔNICA / HIPERSONICA
Hipersônica Performance
Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática
Bernhard Gal – Gal Live
+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil
Luiz duVa - Concerto para duo de laptops
Henrique Roscoe (a.k.a. 1mpar) – HOL
Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones
Alexandre Fenerich e Giuliano Obici – Nmenos1
Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra
Hipersônica Participantes
Agricola de Cologne - soundSTORY - sound as a tool for storytelling
Jen-Kuan Chang – Drishti II
Jen-Kuan Chang – Discordance
Jen-Kuan Chang – Nekkhamma
Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness
Jerome Soudan – Mimetic
Matt Lewis e Jeremy Keenan – Animate Objects
Robert Dow - Precipitation within sight
Tetsu Kondo – Dendraw
Tomas Phillips – Drink_Deep
Hipersônica Screening
Art Zoyd's: Amandine Top – EYECATCHER 1
Art Zoyd's: Amandine Top – EYECATCHER 2, Man with a movie câmera
Art Zoyd's: Amandine Top – Movie-Concert for The Fall of the Usher House
Flames aka Flames: Raphael Freire - Performance Audiovisual Sincronizada: Sociedade Pós-Moderna, Novas Tecnologias e Espaço Urbano
Celia Eid e Sébastien Béranger – Gymel
Duprass: Liora Belford e Ido Govrin – Free Field
Duprass: Liora Belford e Ido Govrin – Pink / Noise
Citrullo International: Carlo Hitermann – H2O
1mpar: Henrique Roscoe – HOL
Jay Needham - Narrative Half-life
Daniel Carvalho - butterbox – diving
Daniel Carvalho - OUT_FLOW PART I
Bernard Loibner – Meltdown
Soundsthatmatter – trotting
Soundsthatmatter – briji
Fernando Velázquez – Nómada
Bjorn Erik Haugen – Regress
Audiobeamers: Felipe Frozza - Paesaggi Liquidi II
David Muth - You Are The Sony Of My Life
Dennis Summers – Plase Shift Videos
INSTALAÇÕES / INSTALLATIONS
Anaisa Franco – Connected Memories
Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo
Graffiti Research Lab – Various
Hisako K. Yamakawa – Kodama
r3nder.net+i2off.org – is.3s
Jarbas Jacome – Crepúsculo dos Ídolos
Julio Obelleiro & Alberto García – Magnéticos
Julio Obelleiro & Alberto García – The Magic Torch
Mariana Manhães – Liquescer (Jarrinho)
Mariana Manhães – Liquescer (Jarrinho Azul)
Rejane Cantoni e Leonardo Crescenti – PISO
Sheldon Brown – Scalable City
Soraya Braz e Fábio FON – Roaming
Takahiro Matsuo – Phantasm
Ursula Hentschlaeger – Outer Space IP
Ursula Hentschlaeger – Phantasma
Ursula Hentschlaeger – Binary Art Site
SYMPOSIUM
Agnus Valente
Anaisa Franco
Andre Thomaz e Silvia Laurentiz
Christin Bolewski
Giles Askham
Graffiti Research Lab: James Powderly
Hidenori Watanave
Ivan Ivanoff e Jose Jimenez
Jarbas Jácome
João Fernando Igansi Nunes
Marcos Moraes
Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]
Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin
Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri
Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]
Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz
Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto
Nardo Germano
Nori Suzuki
Sandra Albuquerque Reis Fachinello
Satoru Tokuhisa
Sheldon Brown
Soraya Braz e Fabio FON
Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]
Ursula Hentschlaeger
Valzeli Sampaio
x
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
Alexander Martin Lippisch (November 2, 1894 – February 11, 1976) was a German aeronautical engineer, a pioneer of aerodynamics who made important contributions to the understanding of flying wings, delta wings and the ground effect.
After working intially for the Zeppelin company, Reichsluftfahrtsministerium (RLM, Reich Aviation Ministry) transferred Lippisch and his team in 1939 to work at the Messerschmitt factory, in order to design a high-speed fighter aircraft around the rocket engines then under development by Hellmuth Walter. The team quickly adapted their most recent design, the DFS 194, to rocket power, the first example successfully flying in early 1940. This successfully demonstrated the technology for what would become the Messerschmitt Me 163 Komet, his most famous design.
In 1943, Lippisch transferred to Vienna’s Aeronautical Research Institute (Luftfahrtforschungsanstalt Wien, LFW), to concentrate on the problems of high-speed flight.That same year, he was awarded a doctoral degree in engineering by the University of Heidelberg. However, his research work did not stop Lippisch from designing further, mostly jet-powered and tailless fighter aircraft, e. g. for Henschel.
In early 1944, the RLM became aware of Allied jet developments and the high altitude B-29 in the Pacific TO, which was expected to appear soon over Europe, too. In response, the RLM instituted the Emergency Fighter Program, which took effect on July 3, 1944, ending production of most bomber and multi-role aircraft in favour of fighters, especially jet fighters. Additionally, they accelerated the development of experimental designs that would guarantee a performance edge over the Allied opponents, and designs that would replace the first generation of the German jet fighters, namely the Messerschmitt Me 262 and Heinkel He 162.
One of these advanced designs was the Ta 183 fighter, built by Focke Wulf and developed by Kurt Tank. The Ta 183 had a short fuselage with the air intake passing under the cockpit and proceeding to the rear where the single engine was located. The wings were swept back at 40° and were mounted in the mid-fuselage position. The pilot sat in a pressurized cockpit with a bubble canopy, which provided excellent vision. The primary armament of the aircraft consisted of four 30 mm (1.18 in) MK 108 cannons arranged around the air intake. The Ta 183 had a planned speed of about 1,000 km/h (620 mph) at 7,000 m (22,970 ft) and was powered by a 2nd generation jet engine, the Heinkel HeS 011 turbojet with 13 kN (2,700 lbf) of thrust. Several, steadily improved variants of the Ta 183 entered service from mid 1945 onwards, and the type was also the basis for more thorough derivatives - including a high altitude jet fighter proposed by Alexander Lippisch.
The resulting aircraft mated the structural basis of the proven Ta 183 with advanced aerodynamics, namely a tailless design with a much increased wing and fin area, and the machine was also powered by the new BMW 018 jet engine which delivered at this early stage 25kN (5.200 lb) of thrust and was expected to achieve more than 36 kN (7.500 lb) soon, without bigger dimensions than the widely used HeS 011 at the time.
The resulting machine, designated Li 383 in order to honor the developer, sacrificed some of the Ta 183' agility and speed for sheer altitude and climb performance, and the new wings were mostly built from non-strategic material, what increased weight considerably - the Li 383 was 1.5 times as heavy as the nimble Ta 183 fighter, but the new wing was more than twice as large.
Nevertheless, the modifications were effective and the RLM quickly accepted the radical re-design, since no better options were available on short notice. While the Ta 183 fighter was able to reach 14.000m (45,935 ft) in a zoom climb, the Li 383 could easily operate at 16.000m (52.500 ft) and even above that. However, Alexander Lippisch's original design, the Li 383A, had, despite positive wind tunnel tests, turned out to be unstable and prone to spinning. The reason was quickly found to be a lack of latitudal surfaces, and this was quickly fixed with a bigger tail fin and a characteristic gull wing that gave it the inofficial nickname for the serial Li 383B, "Sturmvogel".
When the Allied Forces eventually added the high-flying B-29 bombers to their air raids over Germany in late 1945, the Li 383 B-1 serial production variant was just ready for service. The new machines were quickly delivered to front line units, primarily fighter squadrons that defended vital centers like Berlin, Munich or the Ruhrgebiet. However, even though the Li 383 B-1's performance was sufficient, the type suffered from an inherent weakness against the well-armed Allied bombers: the range of the MK 108 cannon. While this weapon was relatively light and compact, and the four guns delivered an impressive weight of fire, a close attack against massive bomber formations was highly hazardous for the pilots. As a consequence, since bigger guns could not be mounted in the compact Ta 183 airframe, several weapon sets for filed modifications (so-called Rüstsätze) were offered that added a variety of weapons with a longer range and a bigger punch to the Li 383 B-1's arsenal, including unguided and guided air-to-air missiles.
Anyway, the Li 383's overall impact was not significant. Production numbers remained low, and all in all, only a total of 80-100 machines were completed and made operational when the hostilities ended.
General characteristics:
Crew: one
Length: 7.78 m (25 ft 5 1/2 in)
Wingspan: 12.67 m (41 ft 6 in)
Height: 3.86 m (12 ft 8 in)
Wing area: 46.8 m² (502.1 ft²)
Empty weight: 4,600 kg (10,141 lb)
Loaded weight: 6,912 kg (15,238 lb)
Max. takeoff weight: 8,100 kg (17,857 lb)
Powerplant:
1× BMW 018A turbojet, 25kN (5.200 lb)
Performance:
Maximum speed: 977 km/h (estimated) (607 mph) at 12,000 meters (39,000 ft)
Service ceiling: 16,000 m (estimated) (52,000 ft)
Rate of climb: 22 m/s (estimated) (4,330 ft/min)
Wing loading: 147.7 kg/m² (20.2 lb/ft²)
Thrust/weight: 0.34
Armament:
4× 30 mm (1.18 in) MK 108 cannons around the air intake with 75 RPG
2x underwing hardpoints for two 300l drop tanks or 2x 250 kg (550 lb) bombs;
alternatively, various weapon sets (Rüstsätze) were available, including racks for 8× (R1) or 12× (R3)
R 65 “Föhn” or for 24x R4M unguided missiles (R2), or for 2× Ruhrstahl X-4 Wire Guided AAMs (R4)
The kit and its assembly:
This fictional Luft ’46 aircraft was inspired by the question what a further developed Ta 183 could have looked like, and it was also influenced by the many tailless Lippisch designs that never left the drawing board.
From the hardware perspective, the design is more or less the salvage of the most useable parts of the PM Model Horten IX/Go 229 kit – namely the outer wing sections. The PM Model Ta 183 is only marginally “better”, and I had one of these in the stash (Revell re-boxing), too. So, why not combine two dreadful kits into something …new?
Well, that was the plan, and building was rather straightforward. In the cockpit, I added simple side consoles, a dashboard, some oxygen flasks, a different seat and a pilot figure (seatbelts simulated with tape strips) – the kit would be finished with closed canopy.
An exhaust pipe was integrated and the air intake filled with a better compressor fan (from an Airfix D.H. Venom, IIRC, fits perfectly). The inner walls of the landing gear wells (well, they are not existent) were cut away and replaced with leftover jet engine parts, so that there was some structure and depth. The landing gear was taken OOB, though, I just used slightly bigger wheels, since the “new” aircraft would have considerably more mass than the Ta 183.
The highly swept, long Ta 183 tail was cut off and replaced by a surplus Me 262 fin and tail section (Matchbox). Despite the different shape and size, and the resulting side view profile reminds strangely of the Saab 29?
The original Ta 183 wings were not mounted and their attachment points on the fuselage cut/sanded away. Instead, I used the outer wing sections from the Go 229, with clipped wing tips for a different shape.
When I held the wings to the fuselage, the whole thing looked …boring. Something was missing, hard to pinpoint. After consulting some Luft ’46 literature I adapted a trick for better stability: a gull wing shape. This was achieved through simple cuts to the wings’ upper halves. Then the wings were bent down, the gap filled with a styrene strip, and finally PSRed away. Looks very dynamic, and also much better!
Another late addition was the underwing armament. I was about to start painting when I again found that something was missing… The new wings made the aircraft pretty large, so I considered some underwing ordnance. Anyway, I did not want to disrupt the relatively clean lines with ugly bombs or drop tanks, so I installed a pair of racks with six launch tubes for R 65 “Föhn” unguided AAMs into the lower wing surfaces, in a semi-recessed position and with a deflector plate for the rocket exhausts.
Painting and markings:
As a high altitude interceptor and late war design, this one was to receive a simple and relatively light livery, even though I stuck with classic RLM tones. The Li 383 was basically painted all-over RLM 76 (Humbrol 247), onto which RLM 75 (from Modelmaster) was added, in the form of highly thinned enamel paint for a cloudy and improvised effect, applied with a big and soft brush. On top of the wings, a typical two-tone scheme was created, while on the fuselage’s upper sides only some thin mottles were added.
In order to lighten the scheme up and add a unique twist, I added further mottles to the flanks and the fin, but this time with RLM 77. This is a very light grey – originally reserved for tactical markings, but also “abused” in the field for camouflage mods, e. g. on high-flying He 177 bombers. I used Humbrol 195 (RAL 7035), again applied with a brush and highly thinned for a rather cloudy finish.
The air intake section and the intake duct were painted in aluminum, while the engine exhaust section as well as the missile racks and the areas around the gun ports were painted with Revell 99 (Iron Metallic) and Steel Metallizer.
The cockpit interior became dark grey (RLM 66) while the landing gear, the wells and the visible engine parts inside became RLM 02.
The kit was lightly weathered with a thin black ink wash and some dry-brushing.
The markings were puzzled together; due to the light basic tones of the model, the upper crosses became black, with only a very small cross on the flanks due to the lack of space, and for the wings’ undersides I used “old school” full color markings in black and white. The red color for the tactical code was basically chosen because it would be a nice contrast to the bluish-grey overall livery.
Finally the kit was sealed with matt acrylic varnish and some gun soot stains added with grinded graphite, as well as some traces of flaked paint on the wings’ leading edges and around the cockpit.
Well, the attempt to bash two mediocre (at best) kits into something else and hopefully better worked out well – the Li 383 does not look totally out of place, even though it turned out to become a bigger aircraft than expected. However, the aircraft has this certain, futuristic Luft ’46 look – probably thanks to the gull wings, which really change the overall impression from a simple kitbash to a coherent design which-could-have-been. The livery also fits well and looks better than expected. Overall, a positive surprise.
The Church of the Holy Sepulchre, also called the Basilica of the Holy Sepulchre, or the Church of the Resurrection by Eastern Christians, is a church within the Christian Quarter of the walled Old City of Jerusalem. It is a few steps away from the Muristan.
The site is venerated as Golgotha (the Hill of Calvary), where Jesus was crucified, and is said also to contain the place where Jesus was buried (the Sepulchre). The church has been a paramount – and for many Christians the most important – pilgrimage destination since at least the 4th century, as the purported site of the resurrection of Jesus. Today it also serves as the headquarters of the Greek Orthodox Patriarch of Jerusalem, while control of the building is shared between several Christian churches and secular entities in complicated arrangements essentially unchanged for centuries. Today, the church is home to branches of Eastern Orthodoxy and Oriental Orthodoxy as well as to Roman Catholicism.
Anglican and Protestant Christians have no permanent presence in the Church – and some have regarded the alternative Garden Tomb, elsewhere in Jerusalem, as the true place of Jesus's crucifixion and resurrection [Wikipedia.org]
We have the Winter Solstice coming up soon so I am going to try to explain what it is all about. We all know there is 24 hours in a day so what is this Shortest Day all about.
The reason we have any seasons is because the earth has a 23.5 degree tilt. In the summer months the sun shines directly on our USA country, in the Winter we get the weak angular rays. This country averages well over 100 degrees difference.
In July Death Valley can be well over 100 degrees. In winter much of the North is hovering around zero.
What makes all the difference is the latitude where you live. On the longest day in June, Seattle gets about 13 hours of sunlight, while Miami gets around 11. Norway is called the land of the Midnight sun. In Summer the sun goes below the horizon for only about 40 minutes, then it is up again. In Barrow, Alaska, the sun goes down on November 18th and it comes up again 67 days later on January 23rd.
I hope this has helped to explain some of the mysteries associated with the Solstice.
x
CINEMA DIGITAL
A Study of 4D Julia sets
Baraka / Baraka from DVD to 4K / Baraka with the monkey
Beatbox360
Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)
Era la Notte
Flight to the Center of the Milky Way
Growth by aggregation 2
Jet Instabilities in a stratified fluid flow
Keio University Concert
Manny Farber (Tribute to)
Scalable City
The Nonlinear Evolution of the Universe
The Prague train
FILE INOVAÇÃO / FILE INNOVATION
Interface Cérebro-Computador – Eduardo Miranda
Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia
Robô de visão omnidirecional – Jun Okamoto
Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik
Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.
GAMES INSTALAÇÕES / INSTALLATIONS GAMES
Giles Askham – Aquaplayne
Jonah Warren & Steven Sanborn – Transpose
Jonah Warren & Steven Sanborn – Full Body Games
Fabiano Onça e Coméia – Tantalus Quest
Julian Oliver - levelHead
GAMES
Andreas Zecher – Understanding Games
Andrei R. Thomaz – Cubos de Cor
Arvi Teikari – Once In Space
Fabrício Fava – Futebolando
Golf Question Mark – Golf
Introversion.co.uk – Darwinia
Jens Andersson and Ida Rödén – Rorschach
Jonatan Söderström – CleanAsia!
Jonatan Söderström – AdNauseum2
Jorn Ebner – sans femme et sans avieteur
Josh Nimoy – BallDroppings
Josiah Pisciotta – Gish
Marek Walczak and Martin Wattenberg – Thinking Machine 7
Mariana Rillo – Desmanche
Mark Essen - Punishment: The punishing
Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST
Playtime – SFZero
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK
QueasyGames - Jonathan Mak – Everyday Shooter
R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War
Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day
Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm
Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain
Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard
Tanja Vujinovic – Osciloo
ThatGameCompany – Jenova Chen – Clouds
ThatGameCompany – Jenova Chen - flOw
JOGOS BR
JOGOS BR 1
Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive
Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.
Cim-itério - Wagner Gomes Carvalho / Green Land Studios
Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.
Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira
/ Gamion Realidade Virtual & Games
Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.
JOGOS BR 2 – Jogos Completos
Cave Days - Winston George A. Petty / Insolita Studios
Peixis!
(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics
JOGOS BR 2 – Demos Jogáveis
Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games
Conspiração Dumont - Guilherme Mattos Coutinho
Flora - Francisco Oliveira de Queiroz
Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.
Inferno - Alexandre Vrubel / Continuum Entertainment Ltda
Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho
Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza
HIPERSÔNICA / HIPERSONICA
Hipersônica Performance
Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática
Bernhard Gal – Gal Live
+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil
Luiz duVa - Concerto para duo de laptops
Henrique Roscoe (a.k.a. 1mpar) – HOL
Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones
Alexandre Fenerich e Giuliano Obici – Nmenos1
Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra
Hipersônica Participantes
Agricola de Cologne - soundSTORY - sound as a tool for storytelling
Jen-Kuan Chang – Drishti II
Jen-Kuan Chang – Discordance
Jen-Kuan Chang – Nekkhamma
Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness
Jerome Soudan – Mimetic
Matt Lewis e Jeremy Keenan – Animate Objects
Robert Dow - Precipitation within sight
Tetsu Kondo – Dendraw
Tomas Phillips – Drink_Deep
INSTALAÇÕES / INSTALLATIONS
Anaisa Franco – Connected Memories
Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo
Graffiti Research Lab – Various
Hisako K. Yamakawa – Kodama
r3nder.net+i2off.org – is.3s
Jarbas Jacome – Crepúsculo dos Ídolos
Julio Obelleiro & Alberto García – Magnéticos
Julio Obelleiro & Alberto García – The Magic Torch
Mariana Manhães – Liquescer (Jarrinho)
Mariana Manhães – Liquescer (Jarrinho Azul)
Rejane Cantoni e Leonardo Crescenti – PISO
Sheldon Brown – Scalable City
Soraya Braz e Fábio FON – Roaming
Takahiro Matsuo – Phantasm
Ursula Hentschlaeger – Outer Space IP
Ursula Hentschlaeger – Phantasma
Ursula Hentschlaeger – Binary Art Site
SYMPOSIUM
Agnus Valente
Anaisa Franco
Andre Thomaz e Silvia Laurentiz
Christin Bolewski
Giles Askham
Graffiti Research Lab: James Powderly
Hidenori Watanave
Ivan Ivanoff e Jose Jimenez
Jarbas Jácome
João Fernando Igansi Nunes
Marcos Moraes
Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]
Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin
Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri
Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]
Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz
Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto
Nardo Germano
Nori Suzuki
Sandra Albuquerque Reis Fachinello
Satoru Tokuhisa
Sheldon Brown
Soraya Braz e Fabio FON
Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]
Ursula Hentschlaeger
Valzeli Sampaio
Cinema Documenta FILE São Paulo 2008
Antonello Matarazzo – Interferenze – Itália / Italy
Bruno Natal - Dub Echoes – Brasil / Brazil
Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil
Kevin Logan – Recitation – Londres / London
Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil
Linda Hilfing Nielsen - Participation 0.0 – Dinamarca
Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany
Matthew Bate - What The Future Sounded Like – Austrália
Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA
Mídia Arte FILE São Paulo 2008
[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA
Agricola de Cologne - One Day on Mars – Alemanha / Germany
alan bigelow - "When I Was President" – EUA / USA
Alessandra Ribeiro Parente Paes
Daniel Fernandes Gamez
Glauber Kotaki Rodrigues
Igor Albuquerque Bertolino
Karina Yuko Haneda
Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil
Alessandro Capozzo – Talea – Itália / Italy
Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon
Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil
Alexandre Cardoso Rodrigues Nunes
Bruno Coimbra Franco
Diego Filipe Braga R. Nascimento
Fábio Rinaldi Batistine
Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil
ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil
Andreas Zingerle - Extension of Human sight – Áustria
Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil
Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil
Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland
calin man – appendXship / Romênia
Carlindo da Conceição Barbosa
Kauê de Oliveira Souza
Guilherme Tetsuo Takei
Renato Michalischen
Ricardo Rodrigues Martins
Tassia Deusdara Manso
Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil
Christoph Korn – waldstueck – Alemanha / Germany
Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil
Duda. – do pixel ao pixel – Brasil / Brazil
Daniel Kobayashi
Felipe Crivelli Ayub
Fernando Boschetti
Luiz Felipe M. Coelho
Marcelo Knelsen
Mauro Falavigna
Rafael de A. Campos
Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil
David Clark - 88 Constellations for Wittgenstein – Canadá
Thais Paola Galvez
Josias Silva
Diego Abrahão Modesto
Nilson Benis
Vinicius Augusto Naka de Vasconcelos
Wilson Ruano Junior
Marcela Moreira da Silva – Rogério caos – Brasil / Brazil
Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil
Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada
Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil
Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil
Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil
Fernando Aquino – UAI Justiça – Brasil / Brazil
Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA
Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan
Yto Aranda – Cyber Birds Dance – Chile
Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA
Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon
Josephine Anstey, Dave Pape - Office Diva – EUA / USA
Josh Fishburn – Layers – Waiting – EUA / USA
Karla Brunet – Peculiaris – Brasil / Brazil
Kevin Evensen - Veils of Light – EUA / USA
lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy
linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark
Lisa Link - If I Worked for 493 years – EUA / USA
Marcelo Padre – Estro – Brasil / Brazil
Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil
Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon
Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil
Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil
Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon
Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon
Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon
Nurit Bar-Shai - Nothing Happens – EUA / USA
projectsinge: Blanquet Jerome - Monkey_Party – França / France
QUBO GAS - WATERCOULEUR PARK – França / France
rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil
Rafael Rozendaal - future physics – Netherlands
Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil
Roni Ribeiro – Bípedes – Brasil / Brazil
Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil
Rui Filipe Antunes – xTNZ – Brasil / Brazil
Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil
Tanja Vujinovic - "Without Title" – Switzerland
Hipersônica Screening – FILE São Paulo 2008
1mpar – hol – Brasil / Brazil
Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France
Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany
Bernhard Loibner – Meltdown – Áustria
Bjørn Erik Haugen – Regress - Norway
Celia Eid e Sébastien Béranger – Gymel – França / France
Studio Brutus/Citrullo International - H2O – Itália / Italy
Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil
David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon
Dennis Summers - Phase Shift Vídeos – EUA / USA
Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel
Fernando Velázquez – Nómada – Brasil / Brazil
Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil
Frederico Pessoa - butterbox – diving - Brasil / Brazil
Jay Needham - Narrative Half-life – EUA / USA
Soundsthatmatter – trotting – briji – Brasil / Brazil
x
As a child I loved looking at the covers and the illustrations within my dad's old science magazines. I didn't actually read any, just looked at the pictures. It's still absolutely inspirational stuff.
by Internet Archive Book Images
Business Management Degrees like MBA are among the most preferred of professional courses in India for those who have completed their graduation. Doing an MBA from India’s top management colleges is regarded as the surest way to ensure a long-term and rewarding c...
excited.g2a.website/understanding-popular-mba-degrees-in-...
KIGALI, December 16, 2020: Rwanda Development Board has signed a Memorandum of Understanding (MoU) with trade enabler-DP World to launch its new global B2B and B2C e-commerce platform, Dubuy.com, in Rwanda early next year. The vision of the MoU is to make it easier for Rwandan businesses to engage in international trade.
Rwanda will become DP World’s hub for expanding e-commerce across the East Africa Community and beyond. Rwandan businesses will also benefit from broader DP World services and investment that will help to facilitate and develop trade. This includes the promotion of Rwandan exports of coffee, tea, and horticulture on Dubuy.com, the modernising of Rwanda’s supply chain logistics including in rural areas, and access to digital tools to help businesses save money and expand their reach to local, regional, and global markets.
The decision to launch Dubuy.com in Rwanda follows the country’s consistent superior annual rating in the World Bank’s global “Ease of Doing Business” rankings and its commitment to international trade and investment.
The e-commerce site will bring Rwandan products to global markets and help enterprises from around the world to invest in Rwanda. In turn, Rwandans will have greater access to international products.
DP World has already invested in world-class port and logistics facilities in Kigali, demonstrating its strong belief in Rwanda’s future.
Inspired by one of my favorite Flickr photographers: www.flickr.com/photos/je_est_un_autre/2519152913/in/set-7...
~*Photography Originally Taken By: www.CrossTrips.Com Under God*~
1917 Lincoln City, Oregon Tsunami
A tsunami (pronounced /tsuːˈnɑːmi/) is a series of waves created when a body of water, such as an ocean, is rapidly displaced. Earthquakes, mass movements above or below water, some volcanic eruptions and other underwater explosions, landslides, underwater earthquakes, large asteroid impacts and testing with nuclear weapons at sea all have the potential to generate a tsunami. The effects of a tsunami can be devastating due to the immense volumes of water and energy involved. Since meteorites are small, they will not generate a tsunami.
The Greek historian Thucydides was the first to relate tsunamis to submarine quakes,[1] [2] but understanding of the nature of tsunamis remained slim until the 20th century and is the subject of ongoing research.
Many early geological, geographic, oceanographic etc; texts refer to "Seismic sea waves" - these are now referred to as "tsunami."
Some meteorological storm conditions - deep depressions causing cyclones, hurricanes; can generate a storm surge which can be several metres above normal tide levels. This is due to the low atmospheric pressure within the centre of the depression. As these storm surges come ashore the surge can resemble a tsunami, inundating vast areas of land. These are not tsunami. Such a storm surge inundated Burma or, Myanmar in May 2008.
Terminology
The term tsunami comes from the Japanese meaning harbor ("tsu", 津) and wave ("nami", 波). [a. Jap. tsunami, tunami, f. tsu harbour + nami waves. - Oxford English Dictionary]. For the plural, one can either follow ordinary English practice and add an s, or use an invariable plural as in Japanese. Tsunamis are common throughout Japanese history; approximately 195 events in Japan have been recorded.
A tsunami has a much smaller amplitude (wave height) offshore, and a very long wavelength (often hundreds of kilometers long), which is why they generally pass unnoticed at sea, forming only a slight swell usually about 300 mm above the normal sea surface. A tsunami can occur at any state of the tide and even at low tide will still inundate coastal areas if the incoming waves surge high enough.
Tsunamis are often referred to popularly as tidal waves. This term is inaccurate because tsunamis are not related to tides and its use is discouraged by geologists and oceanographers; however, it is worth noting that the term tsunami is no more accurate because tsumanis are not limited to harbours.
Causes
A tsunami can be generated when converging or destructive plate boundaries abruptly move and vertically displace the overlying water. It is very unlikely that they can form at divergent (constructive) or conservative plate boundaries. This is because constructive or conservative boundaries do not generally disturb the vertical displacement of the water column. Subduction zone related earthquakes generate the majority of all tsunamis.
On 1st April, 1946 a Magnitude 7.8 (Richter Scale) earthquake occurred near the Aleutian Islands, Alaska. It generated a tsunami which inundated Hilo on the island of Hawai'i with a 14 m high surge. The area where the earthquake occurred is where the Pacific Ocean floor is subducting (or being pushed downwards) under Alaska.
Examples of tsunami being generated at locations away from convergent boundaries include - Storegga during the Neolithic era, Grand Banks 1929, Papua New Guinea 1998 (Tappin, 2001). In the case of the Grand Banks and Papua New Guinea tsunamis an earthquake caused sediments to become unstable and subsequently fail. These slumped and as they flowed down slope a tsunami was generated. These tsunami did not travel transoceanic distances.
It is not known what caused the Storegga sediments to fail. It may have been due to overloading of the sediments causing them to become unstable and they then failed solely as a result of being overloaded. It is also possible that an earthquake caused the sediments to become unstable and then fail. Another theory is that a release of gas hydrates (methane etc.,) caused the slump.
The "Great Chilean earthquake" (19:11 hrs UTC) 22nd May 1960 (9.5 Mw), the 27th March 1964 "Good Friday earthquake" Alaska 1964 (9.2 Mw), and the "Great Sumatra-Andaman earthquake" (00:58:53 UTC) 26th December 2004 (9.2 Mw), are recent examples of powerful megathrust earthquakes that generated a tsunami that was able to cross oceans. Smaller (4.2 Mw) earthquakes in Japan can trigger tsunami that can devastate nearby coasts within 15 minutes or less.
In the 1950s it was hypothesised that larger tsunamis than had previously been believed possible may be caused by landslides, explosive volcanic action e.g., Santorini, Krakatau, and impact events when they contact water. These phenomena rapidly displace large volumes of water, as energy from falling debris or expansion is transferred to the water into which the debris falls at a rate faster than the ocean water can absorb it. They have been named by the media as "mega-tsunami."
Tsunami caused by these mechanisms, unlike the trans-oceanic tsunami caused by some earthquakes, may dissipate quickly and rarely affect coastlines distant from the source due to the small area of sea affected. These events can give rise to much larger local shock waves (solitons), such as the landslide at the head of Lituya Bay 1958, which produced a wave with an initial surge estimated at 524m. However, an extremely large gravitational landslide might generate a so called "mega-tsunami" that may have the ability to travel trans-oceanic distances. This though is strongly debated and there is no actual geological evidence to support this hypothesis.
Signs of an approaching tsunami
There is often no advance warning of an approaching tsunami. However, since earthquakes are often a cause of tsunami, any earthquake occurring near a body of water may generate a tsunami if it occurs at shallow depth, is of moderate or high magnitude, and the water volume and depth is sufficient. In Japan moderate - 4.2 Magnitude earthquakes can generate tsunami which can inundate the area within 15 minutes.
If the first part of a tsunami to reach land is a trough (draw back) rather than a crest of the wave, the water along the shoreline may recede dramatically, exposing areas that are normally always submerged. This can serve as an advance warning of the approaching tsunami which will rush in faster than it is possible to run. If a person is in a coastal area where the sea suddenly draws back (many survivors report an accompanying sucking sound), their only real chance of survival is to run for high ground or seek the high floors of high rise buildings.
In the 2004 tsunami that occurred in the Indian Ocean drawback was not reported on the African coast or any other western coasts it inundated, when the tsunami approached from the east. This was because of the nature of the wave - it moved downwards on the eastern side of the fault line and upwards on the western side. It was the western pulse that inundated coastal areas of Africa and other western areas.
80% of all tsunamis occur in the Pacific Ocean, but are possible wherever large bodies of water are found, including inland lakes. They may be caused by landslides, volcanic explosions, bolides and seismic activity.
Indian Ocean Tsunami According to an article in "Geographical" magazine (April 2008), the Indian Ocean tsunami of 26th December 2004 was not the worst that the region could expect. Professor Costas Synolakis of the Tsunami Research Center at the University of Southern California co-authored a paper in "Geophysical Journal International" which suggests that a future tsunami in the Indian Ocean basin could affect locations such as Madagascar, Singapore, Somalia, Western Australia and many others. The Boxing Day tsunami killed over 300,000 people with many bodies either being lost to the sea or unidentified. Some unofficial estimates have claimed that approximately 1 million people may have died directly or indirectly solely as a result of the tsunami.
Warnings and prevention
A tsunami cannot be prevented or precisely predicted - even if the right magnitude of an earthquake occurs in the right location. Geologists, Oceanographers and Seismologist analyse each earthquake and based upon many factors may or may not issue a tsunami warning. However, there are some warning signs of an impending tsunami, and there are many systems being developed and in use to reduce the damage from tsunami. One of the most important systems that is used and constantly monitored are bottom pressure sensors. These are anchored and attached to buoys. Sensors on the equipment constantly monitor the pressure of the overlying water column - this can be deduced by the simple calculation of:
F = Gdh
where F = the overlying force or pressure in Newtons per metre square, G is the acceleration due to gravity, d = the density of the water and h = the height of the water column.
G = 9.8 m s2, d = 1.1 x 103 kg m3 and h is the depth of water in metres
Hence for a water column of 5,000 m depth the overlying pressure is equal to 9.8 x 1.1 x 103 x 5 x 103 or about 5.4 x 10 7 N m2 or about 5.7 Million tonnes per metre square.
In instances where the leading edge of the tsunami wave is the trough, the sea will recede from the coast half of the wave's period before the wave's arrival. If the slope of the coastal seabed is shallow, this recession can exceed many hundreds of meters. People unaware of the danger may remain at or near the shore out of curiosity, or for collecting fish from the exposed seabed. During the Indian Ocean tsunami of 26th December 2004, the sea withdrew and many people then went onto the exposed sea bed to investigate. Pictures taken show people on the normally submerged areas with the advancing wave in the background. Most people who were on the beach were unable to escape to high ground and died.
Regions with a high risk of tsunami may use tsunami warning systems to detect tsunami and warn the general population before the wave reaches land. On the west coast of the United States, which is prone to Pacific Ocean tsunami, warning signs advise people of evacuation routes.
The Pacific Tsunami Warning System is based in Honolulu. It monitors all sesimic activity that occurs anywhere within the Pacific. Based up the magnitude and other information a tsunami warning may be issued. It is important to note that the subduction zones around the Pacific are seismically active, but not all earthquakes generate tsunami and for this reason computers are used as a tool to assist in analysing the risk of tsunami generation of each and every earthquake that occurs in the Pacific Ocean and the adjoining land masses.
As a direct result of the Indian Ocean tsunami, a re-appraisal of the tsunami threat of all coastal areas is being undertaken by national governments and the United Nations Disaster Mitigation Committee. A tsunami warning system is currently being installed in the Indian Ocean.
Computer models can predict tsunami arrival - observations have shown that predicted arrival times are usually within minutes of the predicted time. Bottom pressure sensors are able to relay information in real time and based upon the readings and other information about the seismic event that triggered it and the shape of the seafloor (bathymetry) and coastal land (topography), it is possible to estimate the amplitude and therefore the surge height, of the approaching tsunami. All the countries that border the Pacific Ocean collaborate in the Tsunami Warning System and most regularly practice evacuation and other procedures to prepare people for the inevitable tsunami. In Japan such preparation is a mandatory requirement of government, local authorities, emergency services and the population.
Some zoologists hypothesise that animals may have an ability to sense subsonic Rayleigh waves from an earthquake or a tsunami. Some animals seem to have the ability to detect natural phenomena and if correct, careful observation and monitoring could possibly provide advance warning of earthquakes, tsunami etc. However, the evidence is controversial and has not been proven scientifically. There are some unsubstantiated claims that animals before the Lisbon quake were restless and moved away from low lying areas to higher ground. Yet many other animals in the same areas drowned. The phenomenon was also noted in Sri Lanka in the 2004 Indian Ocean earthquake. The following two references whilst relevant, are media and not scientific - (BBC, [1]) (Kenneally, [2]). It is possible that certain animals (e.g., elephants) may have heard the sounds of the tsunami as it approached the coast. The elephants reaction was to move away from the approaching noise - inland. Some humans, on the other hand, went to the shore to investigate and many drowned as a result.
It is not possible to prevent a tsunami. However, in some tsunami-prone countries some measures have been taken to reduce the damage caused on shore. Japan has implemented an extensive programme of building tsunami walls of up to 4.5 m (13.5 ft) high in front of populated coastal areas. Other localities have built floodgates and channels to redirect the water from incoming tsunami. However, their effectiveness has been questioned, as tsunami often surge higher than the barriers. For instance, the Okushiri, Hokkaidō tsunami which struck Okushiri Island of Hokkaidō within two to five minutes of the earthquake on July 12, 1993 created waves as much as 30 m (100 ft) tall - as high as a 10-story building. The port town of Aonae was completely surrounded by a tsunami wall, but the waves washed right over the wall and destroyed all the wood-framed structures in the area. The wall may have succeeded in slowing down and moderating the height of the tsunami, but it did not prevent major destruction and loss of life. (This reference is Japanese - [3])
The effects of a tsunami may be mitigated by natural factors such as tree cover on the shoreline. Some locations in the path of the 2004 Indian Ocean tsunami escaped almost unscathed as a result of the tsunami's energy being absorbed by trees such as coconut palms and mangroves. In one striking example, the village of Naluvedapathy in India's Tamil Nadu region suffered minimal damage and few deaths as the wave broke up on a forest of 80,244 trees planted along the shoreline in 2002 in a bid to enter the Guinness Book of Records. [4] Environmentalists have suggested tree planting along stretches of seacoast which are prone to tsunami risks. It would take some years for the trees to grow to a useful size, but such plantations could offer a much cheaper and longer-lasting means of tsunami mitigation than the construction of artificial barriers.
Tsunami in History
Main article: Historic tsunami
Historically speaking, tsunami are not rare, with at least 25 tsunami occurring in the last century. Of these, many were recorded in the Asia-Pacific region - particularly Japan. The Boxing Day Tsunami in 2004 caused approx. 350,000 deaths and many more injuries.
As early as 426 B.C. the Greek historian Thucydides inquired in his book History of the Peloponnesian War about the causes of tsunami, and argued rightly that it could only be explained as a consequence of ocean earthquakes.[1] He was thus the first in the history of natural science to correlate quakes and waves in terms of cause and effect:[2]
The cause, in my opinion, of this phenomenon must be sought in the earthquake. At the point where its shock has been the most violent the sea is driven back, and suddenly recoiling with redoubled force, causes the inundation. Without an earthquake I do not see how such an accident could happen.[3]
The Roman historian Ammianus Marcellinus (Res Gestae 26.10.15-19) describes the typical sequence of a tsunami including an incipient earthquake, the sudden retreat of the sea and a following gigantic wave on the occasion of the 365 A.D. tsunami devastating Alexandria.[4] [5]
Tsunami and the Bible
Some recent work by scholars (Egyptologists, Israeli and others), geologists and oceanographers (including Dr Iain Stewart of University of Plymouth, UK), indicates that the Santorini eruption (about 1615 BC) may have caused the devastation of the Egyptian armies that is mentioned in the Exodus. The Exodus is dated as occurring between 1290 and 1340 BC. It is unlikely that the details were recorded in the immediate aftermath and there was probably a delay in the writing of the account. While there is a discrepancy of about 300 years, given the circumstances surrounding the dating of the Santorini eruption, it is possible that the two events did coincide. Further support for this is that the southeastern corner of the Mediterranean was marshland prior to the construction of the Suez Canal and was a known source of reeds. Is the "Red Sea" a wrong interpretation of the "Reed Sea," and did the Santorini or Minoan eruption coincide with the Exodus? There is ongoing research into this including drilling boreholes to look for tsunamite - the deposit left by tsunamis and other evidence to support or disprove this theory.
Immaculée Nyirahabimana is a farmer from Cyuve district. The area is one of Rwanda’s most productive agricultural regions. www.ciatnews.cgiar.org/?p=7981
Credit: ©2014CIAT/StefanieNeno
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MEXICO CITY - U.S. Customs and Border Protection Commissioner Kevin McAleenan and Chief of Mexico Tax Administration Service Osvaldo Santin signed a Memorandum of Understanding on Cargo Pre-Inspection Program and Unified Cargo Processing, in Mexico City, Mexico, March 26, 2018. This MOU states the bilateral commitment for the further implementation of cargo-pre inspection and UCP programs, through which Mexican customs officers and CBP officers will work together to inspect and process cargo shipments. Official DHS photo by Jetta Disco.
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
This window shows a portion of the hill where Jesus was crucified. Located inside the Church of the Holy Sepulchre in Jerusalem, it gives a small glimpse of "skull rock" (Golgotha in Greek, Calvary in Latin) that was used as a crucifixion site by the Romans. It was outside the walls of Jerusalem in the early 1st century. Is the crack in the rock evidence of an earthquake mentioned in Matthew 27:51?
The church was built on top of the traditional site of the crucifixion and resurrection. Early Christians honored the site before the time of Constantine, whose mother Helena initiated the construction of churches on Christian holy sites, guided by oral tradition and local Christian leaders during her pilgrimage in 326-328 AD.
Another window into the rocky hill is visible behind glass at a lower level, as well as several first-century tombs carved into the rock.
September 13, 2009 | Lined up the grass in the background for an unbroken expanse of creamy green bokeh. I threw on a bit of my couch texture and borealnz's ttv layer
HBW!
Entry in category 2. Women and men of science; Copyright CC-BY-NC-ND: Sofia Forss
This image captures the start of my Ambizione project, in which I am trying to understand what factors shape cognitive abilities in a rather small brained, yet highly social species – the meerkats. The project is taking place at the study site of the Kalahari Research Center in Kuruma River Reserve in South Africa, where we study multiple wild groups of meerkats. Within the biological sciences it has long been debated how sociality relates to cognitive evolution. Partly, my research considers the interplay between one’s social life and motivational factors, like curiosity, and how that in turn can be decisive for cognitive skills. This picture inspires me because I don’t think one can necessarily tell who is more curious about whom in the captured situation, providing a mystery into what animal minds are.
Nestlé Research Center studies behaviour to understand drivers of pleasure and healthy food choices.
After taking this life changing trip, it will forever remain in my heart, I truly do believe ‘All Roads Lead to Colorado’. After careful planning and understanding our limits. My two best friends, girlfriend, and I decided it was time to pack up the car and make this 3,000 mile trip from New Jersey to Colorado Springs. Colorado is filled with nothing but wonderful, kind heart, wishful thinking individuals who were always trilled about the little things. Such as coffee shops….as well as marijuana. If there is one thing I could say is it sure does beat the city life. But the truth is all behind the beautiful scenery that I will forever tell my family and friends about throughout life.
As a reference the things I was able to capture through my lens will never ever equal the experiences I had.
Music that influenced my editing…
Kurt Vile – Pretty Pimpin
Halsey – New Americana
Twenty One Pilots – Ride
Redbone- Come And Get Your Love
A$AP Rocky – L$D
Logic – Bounce / Alright
Dr. Dre- Talk About It
Elton John – Tiny Dancer
The Bathysphere (Greek words βάθος (bathos), "depth" and σφαίρα (sphaira), "sphere") is a spherical deep-sea submersible which was unpowered and lowered into the ocean on a cable, and was used to conduct a series of dives off the coast of Bermuda from 1930 to 1934. The Bathysphere was designed in 1928 and 1929 by the American Engineer Otis Barton, to be used by the naturalist William Beebe for studying undersea wildlife. Beebe and Barton conducted dives in the Bathysphere together, marking the first time that a marine biologist observed deep-sea animals in their native environment. Their dives set several consecutive world records for the deepest dive ever performed by a human. The record set by the deepest of these, to a depth of 3,028 feet on August 15, 1934, lasted until it was broken by Barton in 1949.
In 1928, the American naturalist William Beebe was given permission by the British government to establish a research station on Nonsuch Island, Bermuda. Using this station, Beebe planned to conduct an in-depth study of the animals inhabiting an eight-mile-square area of ocean, from a depth of two miles to the surface. Although his initial plan called for him to conduct this study by means of helmet diving and dredging, Beebe soon realized that these methods were inadequate for gaining a detailed understanding of deep-sea animals, and began making plans to invent a way to observe them in their native habitat.
As of the late 1920s, the deepest humans could safely descend in diving helmets was 100 feet, since beyond that point the pressure becomes too great. Submarines of the time had descended to a maximum of 383 feet, but had no windows, making them useless for Beebe's goal of observing deep-sea animals. The deepest in the ocean that any human had descended at this point was 525 feet wearing an armored suit, but these suits also made movement and observation extremely difficult. What Beebe hoped to create was a deep-sea vessel which both could descend to a much greater depth than any human had descended thus far, and also would enable him to clearly observe and document the deep ocean's wildlife.
Beebe's initial design called for a cylindrical vessel, and articles describing his plans were published in The New York Times. These articles caught the attention of the engineer Otis Barton, who had his own ambition to become a deep-sea explorer. Barton was certain that a cylinder would not be strong enough to withstand the pressure of the depths to which Beebe was planning to descend, and sent Beebe several letters proposing an alternative design to him. So many unqualified opportunists were attempting to join Beebe in his efforts that Beebe tended to ignore most of his mail, and Barton's first efforts to contact him were fruitless. A mutual friend of Barton's and Beebe's eventually arranged a meeting between the two, enabling Barton to present his design to Beebe in person. Beebe approved of Barton's design, and the two of them made a deal: Barton would pay for the vessel and all of the other equipment to go with it, while Beebe would pay for other expenses such as chartering a ship to raise and lower it, and as the owner of the vessel Barton would accompany Beebe on his dives in it.
Barton's design called for a spherical vessel, as a sphere is the best possible shape for resisting high pressure. The sphere had openings for three 3-inch-thick (76 mm) windows made of fused quartz, the strongest transparent material then available, as well a 400-pound entrance hatch which was to be bolted down before a descent. Initially only two of the windows were mounted on the sphere, and a steel plug was mounted in place of the third window. Oxygen was supplied from high-pressure cylinders carried inside the sphere, while pans of soda lime and calcium chloride were mounted inside the sphere's walls to absorb exhaled CO2 and moisture. Air was to be circulated past these trays by the Bathysphere's occupants using palm-leaf fans.
The casting of the steel sphere was handled by Watson Stillman Hydraulic Machinery Company in Roselle, New Jersey, and the cord to raise and lower the sphere was provided by John A. Roebling's Sons Company. General Electric provided a lamp which would be mounted just inside one of the windows to illuminate animals outside the sphere, and Bell Laboratories provided a telephone system by which divers inside the sphere could communicate with the surface. The cables for the telephone and to provide electricity for the lamp were sealed inside a rubber hose, which entered the body of the Bathysphere through a stuffing box.
After the initial version of the sphere had been cast in June 1929, it was discovered that it was too heavy to be lifted by the winch which would be used to lower it into the ocean, requiring Barton to have the sphere melted and re-cast. The final, lighter design consisted of a hollow sphere of 1-inch-thick (25 mm) cast steel which was 4.75 ft (1.5 m) in diameter. Its weight was 2.25 tons above the water, although its buoyancy reduced this by 1.4 tons when it was submerged, and the 3000 feet of steel cable weighed an additional 1.35 tons.
From 1930 to 1934, Beebe and Barton used the Bathysphere to conduct a series of dives of increasing depth off the coast of Nonsuch Island, becoming the first people to observe deep-sea animals in their native environment. The Bathysphere was lowered into the ocean using a steel cable, and a second cable carried a phone line which the Bathysphere's occupants used to communicate with the surface, as well as an electrical cable for a searchlight to illuminate animals outside the Bathysphere. Beebe's observations were relayed up the phone line to be recorded by Gloria Hollister, his chief technical associate who was also in charge of preparing specimens obtained from dredging. Beebe and Barton made a total of 35 dives in the Bathysphere, setting several consecutive world records for the deepest dive ever performed by a human. The record set by the deepest of these, to a depth of 3,028 feet on August 15, 1934, lasted until it was broken by Barton in 1949.
In 1931, Beebe and Barton's Bathysphere dives were interrupted for a year due to technical problems and uncooperative weather. An additional difficulty in 1931 was the death of Beebe's father, and Beebe left Nonsuch Island for a week in order to attend his father's funeral. A second year-long interruption occurred in 1933, and was caused in part by a lack of funds due to the Great Depression. Although Beebe and Barton performed no dives in 1933, their work gathered a large amount of publicity when the Bathysphere was displayed in a special exhibit for the American Museum of Natural History, and later at the Century of Progress World's Fair in Chicago, where they shared the fair's Hall of Science with Auguste Piccard. Beebe and Barton also obtained publicity for their dives from several articles Beebe wrote describing them for National Geographic, and from an NBC radio broadcast in which Beebe's voice transmitted up the phone line from inside the Bathysphere was broadcast nationally over the radio.
Although Beebe attempted to ensure that Barton would receive credit as the Bathysphere's inventor and Beebe's fellow diver, the popular media tended to ignore Barton and pay attention only to Beebe. Barton was often resentful of this, believing Beebe to be deliberately hogging the fame. Beebe in turn lacked patience for Barton's unpredictable moods, and felt that Barton did not display the proper respect for the natural world. Still, Beebe and Barton both had something the other needed: Beebe for his experience as a marine biologist, and Barton for his mechanical skill. Out of pragmatic concern for the success of their dives, they managed to resolve their disagreements well enough to work together at Nonsuch Island, although they did not remain on good terms afterwards.
It is likely that Beebe became romantically involved with Hollister during his work at Nonsuch Island. An entry in Beebe's personal journal, written in a secret code that he used when describing things he wished kept secret, reads "I kissed her [Gloria] and she loves me." It is unclear whether Elswyth knew of Beebe's affair with Gloria, but if she did she appears to not have minded it. In addition to the open nature of their marriage, Elswyth described in a 1940s interview with Today's Woman magazine that she enjoyed the knowledge that Beebe was attractive to women.
Beebe continued to conduct marine research after 1934, but he felt that he had seen what he wanted to see using the Bathysphere, and that further dives were too expensive for whatever knowledge he gained from them to be worth the cost. With the help of Beebe's friend the physician Henry Lloyd, Beebe conducted an expedition in the West Indies examining the stomach contents of tuna, which uncovered previously unknown larval forms of several species of fish. Shortly after returning, Beebe set out on a longer expedition to the waters around Baja California, financed by the Californian businessman Templeton Crocker on board his yacht the Zaca. The goal of this expedition was to study the area's undersea fauna by means of dredging and helmet diving, and Beebe and his team were surprised by the diversity of animals that they encountered there. In 1937 Beebe went on a second expedition aboard the Zaca, documenting the native wildlife along the Pacific Coast from Mexico to Colombia. During this expedition, rather than focusing on either sea animals as he had at Nonsuch Island or on birds as he had earlier in his life, he attempted to document all aspects of the ecosystem. Beebe described his two expeditions on board the Zaca in his books Zaca Venture and The Book of Bays, in which he emphasized his concern for threatened habitats and his dismay at human destruction.
During the two Zaca expeditions Beebe was accompanied by his longtime assistant John Tee-Van as well as Jocelyn Crane, a young carcinologist who had first worked for Beebe at Nonsuch Island in 1932, and who would subsequently be among Beebe's most cherished associates for the rest of his life. Like Hollister before her, Crane would eventually become Beebe's lover during the long expeditions that Beebe made without Elswyth's companionship. During this time Beebe was also forming a close friendship with Winnie-the-Pooh's creator A. A. Milne, who wrote of Half Mile Down "I don't know which I envy you most: all those moral and physical qualities which you have and I lack, or all that wonder of a new world. [...] One of the few things in the world of which I am really proud is that I know Will Beebe."
New York Aquarium Coney Island NY
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.
NASA Administrator Jared Isaacman gives remarks ahead of NASA and Department of Energy signing a new Memorandum of Understanding, “Accelerating American Leadership in Space Nuclear Power and Propulsion”, during the Golden Age Summit, Thursday, Oct. 8, 2026, at the Donald J. Trump Institute of Peace in Washington. Photo Credit: (NASA/Bill Ingalls)
We walked by three people havin' a smoke and sittin' down on a windowsill and the shot looked sorta cool so I had to take it.
Sometimes I'll shoot someone and after I walk a few steps away I'll kinda hear the reaction...
'That guy just took my picture' or something like that.
After I shot those guys the reaction was good... I think we all laughed and had a few words and the vibe was mellow.
I'd walked about a block and half and I hear someone behind me yelling...
'Hey... photographer!'
I thought they were cool with it.
Maybe it was the old 'delayed reaction.'
I've had that happen a few times.
Raheed caught up with me and he asked if he could get a copy of the picture.
He said all three of them worked there in the bar where I'd shot the picture.
I gave him a card and told him to shoot me an email and I'd get it to him.
Then I shot him closeup a couple a couple of times.
I hope you had a sweet weekend and you got everything you needed out of it.
Stained glass Masonic Square and Compasses hang at the foot of my bed.
Masonic Square and Compasses.
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest.”
The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.
Masonic Square and Compasses.
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest."
The 2015 Explore@NASAGoddard event, on Sept. 26, celebrated the 25th anniversary of the launch of the Hubble Space Telescope. Investigating everything from black holes to planets around other stars, Hubble has ushered in a new chapter of humanity’s exploration of the universe, and the venerable telescope continues to answer some of the most compelling astronomical questions of our time.
Additionally, all areas of Goddard’s research – Earth science, heliophysics, planetary science, astrophysics, and engineering and technology – were presented, as each discipline plays a critical part in NASA's ongoing journey to reach new heights, reveal the unknown and advance scientific understanding for the benefit of humankind.
Credit: NASA's Goddard Space Flight Center/Bill Hrybyk
More information on Explore@NASAGoddard 2015.
NASA's Goddard Space Flight Center enables NASA’s missions through four scientific endeavors: Earth science, heliophysics, solar system exploration, and astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the agency’s mission.
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294 flirted between registrations W294 PFS, W122 DOP and W294 PFS again. My understanding (but I'm happy to be corrected) is that somewhere along the way (at Plaxton, probably), there was confusion between the bus that was intended to be a Travel West Midlands bus, and the bus which was to become Lothian's 294. Initially W122 DOP was carried by a WMT bus while W294 PFS was carried by Lothian 294, but when the error was discovered those buses swapped registration, until such time as each could be re-registered to their intended mark.
617 294 W294 PFS 20000400 be2 cpy
For Tony's group Funny Face Friday
So where are the strong?
And who are the trusted?
And where is the harmony?
Sweet harmony.
'Cause each time I feel it slippin' away, just makes me wanna cry.
What's so funny 'bout peace love & understanding? Ohhhh
What's so funny 'bout peace love & understanding? Ohhhh
What's so funny 'bout peace love & understanding?
~ Nick Lowe
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
for my blog www.pearlslaceandruffles.com
PLEASE READ: As of 13/10/2011 I have added a creative commons "Attribution-NonCommercial-NoDerivs" license to all of my photographs. This means that if you wish to post any of them on tumblr, etc. you MUST give me credit (a link back to this flickr account or my blog), you CAN NOT edit the pictures in any way and they can not be used commercially.
If I see my photographs posted on your tumblr, blog, etc. without proper credit I will be sending you an invoice for using my work.
I don't want to sound rude but I have seen so many of my pictures on tumblr without credit, people claiming the credit themselves, etc. and its getting ridiculous. If you're going to use other peoples pictures, not just mine - but any other persons, you should give them proper credit or else buy a camera and take your own pictures.
Thank all you for understanding and so long as you provide credit I have no issue with you :)
xoxo