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09/25/2019 02:24 PM EDT
SENATOR LIEBERMAN: Thank you. Thank you. It’s a great honor to welcome Secretary Pompeo here. I do want to note there are a lot of honored guests, but I want to pay particular attention and welcome His Excellency Thamer al-Sabhan, the minister of Gulf affairs of the Kingdom of Saudi Arabia; His Excellency Ambassador Yousef Otaiba from the United Arab Emirates; and His Excellency Ron Dermer, ambassador from the state of Israel. (Applause.) And I believe Brian Hook may be here somewhere, who’s the Secretary’s Special Envoy for Iran. (Applause.) And you don’t know this, don’t believe, but I survived working in the same office with my wife for a couple years in Washington. (Laughter.)
It’s a great honor to welcome Secretary Pompeo. We at UANI have long felt that Mike Pompeo is a kindred spirit. From his days in Congress to his time as director of the CIA to his service as our Secretary of State, he has demonstrated principled leadership, strong leadership on Iran, based on a crystal-clear-eyed understanding of the unique threat Iran represents to the United States, to our allies in the region, and to the world.
This week, however, we at UANI feel a special kinship with Secretary Pompeo. On Sunday, Foreign Minister Zarif of Iran called Secretary Pompeo an economic terrorist and said – right, right – (applause) – so this is the old Roosevelt line: they love you for the enemies you made – (laughter) – and suggested that the Secretary be put on trial at the International Criminal Court in Geneva.
Yesterday, Mr. Secretary, the Iran foreign ministry began proceedings to designate UANI as a terrorist organization. So to be designated as terrorists by the world’s biggest terrorist state and the largest state sponsor of terrorism is truly the world turned upside down. But I will say to you that it makes us proud to stand with you, not in the dock in Geneva, where we will not be, but to continue the fight against this radical, extremist, violent country.
The truth is that these ridiculous actions by high officials in the Islamic Republic of Iran are, in my opinion, the actions of a desperate, failing nation. And for this, as I said in my earlier opening remarks, the credit really goes to President Donald Trump and his administration, which has taken us from the failures of the JCPOA to the successes of their new policy of withdrawing from the JCPOA, applying maximum economic pressure, and the result is that Iran is really on the run. And thank God our European allies two days ago returned to our side, and together now, hopefully we will move forward.
At every step of the way, from the CIA to the Department of State, Secretary Pompeo has been at the heart of the Trump administration’s successful turnaround policy. He knows better than anyone what we know as well, that while the momentum is now on our side, there are very difficult and complicated moments ahead and decisions to be – to make. But we are confident and take comfort from the fact that you, Mr. Secretary, will continue to be in leadership on this and so many other matters of concern to the United States in the days and years ahead.
Ladies and gentlemen, I’m really honored to introduce to you the 70th Secretary of State of the United States, the Honorable Mike Pompeo. (Applause.)
SECRETARY POMPEO: Good morning. Good morning, everyone. Thank you. Good morning. Thank you, Senator Lieberman, for inviting me back to address now for the second year in a row. Mark, it’s great to be with you as well. You guys got the comfy seats here this morning.
I also want to welcome a few special guests. As Senator Lieberman said, Minister al-Sabhan of Saudi Arabia; the ambassadors of Bahrain and Ambassador Dermer; Susan Azizadeh of the Iranian American Jewish Federation. (Applause.) Yeah, thanks. (Laughter.) And Maziar Bahari, a great champion for human rights in Iran. And I want to say Salaam to all the Iranians listening today. I have much that I want to say to the Iranian people this morning.
I want you all to imagine the scene in Abqaiq, Saudi Arabia earlier this month. It was a bit before sunrise, missiles and drones rained down on Saudi Arabia’s largest oil processing site. There were many internationals – foreigners, Americans – not too terribly far away. Workers heard the blasts, and so did their children. By the way, my son didn’t think it was as funny as you did that I was going to be at the International Criminal Court. (Laughter.) Although he did say he would like to attend at least the opening. (Laughter.)
Back to the serious. Their children were the – thank God there was no loss of life, but there could easily have been. In that sense, everyone in the region, indeed in the world, got lucky.
I immediately called this an “act of war”, one sovereign state against another, because it was. It was an attack on Saudi Arabia, a sovereign state. It was indeed also an attack on the global economy.
Some said that that was a rush to judgment, that announcement. History – like, six days’ worth of history – has proven we were right, that the United States had it right. We didn’t rush to act. We were patient. We called our partners. We established the facts. We wanted to make sure everybody had the opportunity to see what we knew.
And as Senator Lieberman said this week, Britain, France, and Germany released a statement with their conclusions.
They said, quote, “It is clear to us” – these three nations, “It is clear to us that Iran bears responsibility for this attack. There is no other plausible explanation.”
They went on, “These attacks may have been against Saudi Arabia, but they concern all countries and increase the risk of a major conflict.”
And they declared that, “The time has come for Iran to accept negotiation on a long-term framework for its nuclear program as well as on issues related to regional security.”
Some have said that they’ve joined the United States. I think they have joined reality. I think they’ve joined with the facts as we all see them. And this is progress. Nations are standing for that reality. They’re calling it what it is, something that we all in this room have known for a long time.
This is the beginning of an awakening – to the truth that Iran is the aggressor and not the aggrieved, as they claim as they run around Washington – or, excuse me, run around New York this week.
And that is what American democracy and diplomacy has achieved.
When President Trump exited the JCPOA, the nuclear deal, he didn’t just take a stand for American national securities*. He said at the time the deal only made “Iran’s ambitions…more brazen.”
Indeed, Iran has a long history of unprovoked aggression, 40 years now, against its own people, against its neighbors, and indeed against civilization itself.
The list is long. From murdering and torturing their own people, to killing Americans from Lebanon to Iraq, to harboring al-Qaida even today, Iran has rampaged for four decades, and sadly with too few consequences.
During this nuclear deal – during the nuclear deal negotiations, Iran’s malign activity didn’t abate one bit, although that was the theory of the case. Thanks to Israel, we now know they were also protecting, hiding, and preserving their nuclear knowhow at that very same time.
Indeed, after the deal was signed and the pallets of cash were delivered, they continued backing Hizballah, Hamas, the Houthis, and Shia militias throughout the region. The world too much appeased them, and then underwrote their terrorism.
When President Trump took office, Iran had not joined the community of nations, as was predicted by the previous administration.
What we found: We found a refugee crisis in Syria, thanks to Iran’s support for Assad; a humanitarian quagmire in Yemen, thanks to Iran’s arms transfer to the Houthis; a fragile Iraq, thanks to Iran’s support of Shia militias; an Iranian client state, also known as Lebanon. We saw Iranians jailed and tortured; American citizens, and citizens of many other countries as well, wrongfully detained.
Just yesterday, President Trump drew a distinction between those who think “they are destined to rule over others,” or “those people and nations who want only to rule themselves.” It is abundantly clear into which camp the Islamic Republic of Iran falls.
That’s why last year, after we exited the nuclear deal, we began to execute President Trump’s strategy – shorthand it has been deemed the maximum pressure campaign. But it’s much more than that.
We began to cut off the revenues the regime uses to fund death and destruction, and we’ve seen the benefits of that. We began to pressure the regime to make a real deal, one that ensures the world’s most reckless regime never possesses history’s most destruction weapons systems.
And as the President said yesterday, “It is time for Iran’s leaders to step forward and stop threatening other countries, and focus on building up their own country,” for their own people. “It is time for Iran’s leaders to finally put those people, the Iranian people first.” And I’m confident – I’m confident that the Iranian people will demand that as well. (Applause.) And when they do, you should know this administration will support them. (Applause.)
Look, we’ve implemented unprecedented measures to achieve our goal of peace:
We’ve sanctioned the top-level perpetrators for their blood – for the blood they have on their hands. The supreme leader, Foreign Minister Zarif, and the IRGC are just a few of them.
We’ve hit the Iranian petrochemical sector, the metals sector, the banking sector with sanctions to deprive the regime of billions of dollars, and our enforcement of those sanctions has been and will continue to be relentless.
Thousands of companies around the world are complying with our sanctions because they know their success lies with America and not with the Ayatollah.
And by sanctioning the regime’s petroleum sector, we’ve cut off Iran’s number-one source of revenue. More than 30 nations have brought Iranian oil imports to zero. And going forward, our sanctions on the Iranian oil sector will deprive the regime of as much as $50 billion each and every year. It’s worth noting those sanctions, at their peak, have been in place only since the beginning of May, now some five months. There is much work yet to be done.
And we’re blessed. American power means that no other nation could have brought such staggering pressure to bear. This unprecedented pressure too is forcing the regime into panicked aggression, as we’ve seen public lies.
They’re calling every play in their playbook to goad us into conflict, to create division among nations, and extort them into action*. And you should know their playbook won’t succeed.
This summer, Iran attacked oil tankers in international waterways, it shot down an American UAV, and defied and threatened to defy its nuclear commitments, and it continues to declare death to Israel. And just yesterday, the regime added your organization – as Senator Lieberman said, a peaceful nonprofit ‒ to its list of terror groups, just like it did to our friends at FDD a few weeks before this.
That’s outrageous. It’s outrageous even for this regime, which indeed does mean you are doing something right.
And Iran just flat out lies, and each of us needs to call them on it every time we see it.
I flipped on Fox News last night and saw President Rouhani speaking to Chris Wallace, an odd thing in its own right. (Laughter.)
He claimed that – Rouhani claimed that Iran defeats terrorism wherever it goes. (Laughter).
He claimed, “certainly, undoubtedly” that Israel supports ISIS.
And incredibly, he said – and I must quote this – he said, quote, “Iran is a country that has brought peace in the region,” end of quote. And yet too many people listen to Rouhani and Zarif, and take their words as relevant, or important, or material, or accurate.
Rouhani is desperate to deceive because the world is awakening to the truth. The truth is that Iran responds to strength and not to supplication. President Trump knows that.
More and more nations are beginning to stand up to Iran’s thuggish behavior, and disengaging economically. We will ensure that all of them do. They’re coming to realize, to quote the President, “No responsible government should subsidize Iran’s .”
We’ve made progress. France has now banned Mahan Air from flying in and out of its country.
Germany, too, has banned those planes from landing on their soil.
Argentina recently designated Hizballah as a terrorist group.
And the United Kingdom, said that it would no longer abide the false distinction between Hizballah’s political and military wings.
Greece has refused to let an Iranian supertanker carrying oil to Syria refuel in its ports.
The Netherlands, for the first time, announced that Iran was likely behind the murder of two Dutch citizens who were Iranian dissidents.
Australia, Bahrain, Saudi Arabia, the UAE, and the UK have all joined our efforts to protect freedom of navigation in the Straits of Hormuz.
I was with the GCC nations yesterday. They know the threat Iran poses to peace and are united around stopping it. It was clear, too, when President Trump met with them yesterday, that they’re prepared to do what it takes to ensure stability in their region.
Now I know, too, that there will be more than a few talking heads explode when I say this, but this is effective multilateralism. It’s what the Trump administration has tried to do, multilateralism based in reality and facts, and with clarity of purpose.
Countries are showing themselves to be what President Trump lauded yesterday, “sovereign and independent nations who protect their citizens, their neighbors, and honor the differences that make each country special and unique” in its own right.
This is what American diplomacy has achieved; there’s more work to be done.
But countries are indeed awakening to the truth that the more Iran lashes out, the greater our pressure will and should be.
And you can count on America to lead; each nation can. As President Trump said yesterday, “As long as Iran’s menacing behavior continues, sanctions will not be lifted, they will be tightened.” That path forward begins now with two new actions:
First, we’re taking new action to disentangle the IRGC from the Iranian economy. The United States will intensify our efforts to educate countries and companies on the risks of doing business with IRGC entities, and we will punish them if they persist in defiance of our warnings.
Second, today we are imposing sanctions on certain Chinese entities for knowingly transporting oil from Iran contrary to United States sanctions. (Applause.) Importantly, we’re also imposing sanctions on the executive officers of those companies as well. And we’re telling China and all nations, know that we will sanction every violation of sanctionable activity.
So as I close this morning, I ask responsible nations: Will you publicly condemn Iran’s malign activity? We need you to; the world does.
Will you work with us to restore deterrents? We need you to; the world does.
Will you help us protect freedom of navigation in global trade? We need you to; the world does.
Most importantly, will you help us get Iran back to the negotiating table? We need your help; the world needs it.
And will you stand with us alongside of Israel? We need you to; the world needs you to join us. (Applause.)
Our goal is very straightforward, although not simple. But we know diplomacy is working, our resolve is strong, and our eyes our open. The awakening, I think, in the world, has begun.
To quote the President one last time – at least one last time this morning – “All nations, every nation has a duty to act.” What will you do?
Thank you.
God bless you.
And may God bless the people of Iran. (Applause.)
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Further proof that the people who make Flickr are smart and beautiful and worthy of our admiration: They understand data.
In programming, there's a lot of temptation to make "magic numbers." Like, this value is always a number, except for this one special case, so I'll just set it to -1 (or 99, or 0) in that case, and use the code to check for that. Or maybe, I want to store a date here, but sometimes the users don't know the exact day, so I'll just set the day to the first (or the 15th) of the month in those cases.
No, instead, unknown data is unknown. And that's as it should be. That's what null is for.
In the Organizr, ludicorp demonstrates that they get it. You can enter the date your photo was taken, but you can also be vague. If you choose to be vague, the display page for the photo is also vague. Think of it as avoiding the evils of precision without accuracy. Think of it as maintaining significant figures.
Think of it as beautiful.
Understanding the human brain is the main concern of current medical research. New imaging technologies such as functional magnetic resonance imaging (fMRI) allow to visualise the activity of the brain. The Ars Electronica Center Linz is hosting Science Days on the matter of the human brain.
credit: Martin Hieslmair
Nov 13, 2019 -- Historic abandoned U.S. Army buildings near the U.S. Department of Agriculture (USDA) Agricultural Research Service (ARS) Plum Island Animal Disease Center where African Swine fever research is conducted by lead scientist Dr. Manuel Borca, and Senior Scientist Dr. Douglas Gladue, who are patent holders of four promising platforms for live-attenuated African swine fever vaccines. They are working hard to find solutions to contain ASF and prevent its spread if it ever came to the USA, including understanding disease transmission, determinants of virulence and preventive vaccines. The scientists along with their research leader Dr. Luis Rodriguez, work at the Plum Island animal disease center, near Orient Point, NY, a high-security laboratory located off the coast of Long Island in NY operated by the Department of Homeland Security where high-consequence pathogens, not present in the US are studied. Dr. Borca and Dr. Gladue have studied the ASF virus and discovered several viral genes that are necessary for the virus to cause disease. Using advanced genetic engineering to remove these genes from the virus they have created viruses that when inoculated in animals do not cause disease but instead induce protection. Four of these viruses are excellent vaccine candidates that protect 100% of vaccinated animals with a single vaccine shot. Three of these vaccine candidates have been licensed from ARS to vaccine manufacturers for further development, and a fourth platform is currently undergoing licensing. The hope is that at least one of the vaccine candidates will be fully developed and ready to be used as part of a strategy to prevent and controls this devastating disease.
African swine fever virus (ASFV) is a devastating and deadly animal disease that is currently decimating the world’s population of pigs and threatening food security for billions of people worldwide. As its name indicates African swine fever originated in Africa but has affected other regions of the world over the years, including the Iberic peninsula and several countries in the Caribbean, where after decades of work and millions of animals destroyed, the disease was eradicated. Now the disease has escaped Africa again starting in 2007 with an outbreak in the Republic of Georgia that extended to the Caucasus region, parts of Europe, Russia and more recently to China and several countries in South East Asia. There is no vaccine available for ASF and disease outbreaks are currently controlled by on-farm biosecurity measures, animal quarantine, and slaughter.
The USDA Plum Island Animal Disease Center, work to protect against foreign agricultural diseases that could impact the nation's farm economy and export markets... and your food supply. In Addition to ASFV, Plum Island studies foot-and-mouth disease virus (FMDV) and Vesicular stomatitis virus (VSV). Plum Island is located off the northeastern tip of New York's Long Island. USDA activities at Plum Island are carried out by scientists and veterinarians with the department's Agricultural Research Service (ARS) and Animal and Plant Health Inspection Service (APHIS). We're equally proud of our safety record. Not once in our nearly 50 years of operation has an animal pathogen escaped from the island. In 2003 the Department of Homeland Security (DHS) joined us on the island, taking responsibility for the safety and security of the facility. Staff commute to work on one of two contract ferries from NY and CT.
For more information please see:
ars.usda.gov/research/programs-projects/project/?accnNo=431897
usda.gov
USDA Photo by Lance Cheung.
Fresh beans on sale in a Rwandan market. Land consolidation is helping farmers increase efficiency and production. The production of beans has increased by 30% in the past 4 years.
www.ciatnews.cgiar.org/?p=7981
Credit: ©2014CIAT/StephanieMalyon
Please credit accordingly and leave a comment when you use a CIAT photo.
For more info: ciat-comunicaciones@cgiar.org
Understanding of difference between ordinary classification system and my chronological order system of index cards.
From spacial to temporal, 2-dimensional to 1-dimensional. Degree of freedom is less than ordinary system. It enable simpler management of information.
Ref. : @blog, Space vs. Time : Management of Index Cards
U.S. Secretary of State John Kerry and Foreign Minister Marty Natalegawa sign a Memorandum of Understanding between their two nations related to South-South Triangular Cooperation before a news conference in Jakarta, Indonesia on February 17, 2014. [State Department photo/ Public Domain]
CAMP ARIFJAN, Kuwait - "Are you thinking about killing yourself?"
That question was asked time and time again as Soldiers from the 143d Sustainment Command (Expeditionary) immersed themselves in an Applied Suicide Intervention Skills Training course conducted Jan. 5-6 at Camp Arifjan, Kuwait. Created by LivingWorks Education, ASIST has trained more than a million people worldwide on how to feel more comfortable, confident and competent in helping to prevent the immediate risk of suicide.
Sergeant First Class Michael Miller, a chaplain assistant for the 371st Special Troops Battalion, and Maj. Jim Lewis, a chaplain with the 371st Sustainment Brigade, led the two-day course that consisted of interactive lectures, dramatic videos, small group discussions and one-on-one role play scenarios. Miller and Lewis received formal training from LivingWorks Education to organize, manage and instruct the ASIST program.
Students learned how to use LivingWorks' research-driven methods to connect, understand and assist a person expressing suicidal thoughts and behaviors. Miller and Lewis showed students how they may apply "suicide first aid" in numerous situations from conversing with a battle buddy in an office to talking to a stranger standing on a ledge.
Miller and Lewis hope the ASIST program will continue to grow at Camp Arifjan after they redeploy later this year.
Photo by Sgt. John L. Carkeet IV, 143d ESC Public Affairs
Female and male leaders from the Mando Zayi District Development Assembly of Logar Province, Afghanistan, conduct a monitoring visit of a protection wall construction project, funded through a USAID grant that will enhance food security by shielding farm land from flashfloods. Provincial and district governments are also committed to enhancing female participation in government and development. It is rare that women are invited to attend activities along with their male counterparts, particularly in traditional regions of Afghanistan. Male leaders, understanding that female participation is vital for broader development plans to succeed, are leading by example by involving their female peers in government and community led activities.
Credit: Stability in Key Areas (SIKA)-East program in Afghanistan / Mr. Ahmad Salarzai
This quotation comes from the Ontario math curriculum and points out, for me, that math instruction needs to be investigative. If math teachers simply teach concept after concept until the next unit test, the students will only remember the material until the next unit test.
But if students are challenged by a real life problem, that needs to be investigated and the math needed to solve the problem needs to be understood to help, then deeper understanding would occur.
Niels Henrik David Bohr (7 October 1885 – 18 November 1962) was a Danish physicist who made foundational contributions to understanding atomic structure and quantum theory, for which he received the Nobel Prize in Physics in 1922. Bohr was also a philosopher and a promoter of scientific research.
Bohr developed the Bohr model of the atom, in which he proposed that energy levels of electrons are discrete and that the electrons revolve in stable orbits around the atomic nucleus but can jump from one energy level (or orbit) to another. Although the Bohr model has been supplanted by other models, its underlying principles remain valid. He conceived the principle of complementarity: that items could be separately analysed in terms of contradictory properties, like behaving as a wave or a stream of particles. The notion of complementarity dominated Bohr's thinking in both science and philosophy.
Bohr founded the Institute of Theoretical Physics at the University of Copenhagen, now known as the Niels Bohr Institute, which opened in 1920. Bohr mentored and collaborated with physicists including Hans Kramers, Oskar Klein, George de Hevesy, and Werner Heisenberg. He predicted the existence of a new zirconium-like element, which was named hafnium, after the Latin name for Copenhagen, where it was discovered. Later, the element bohrium was named after him.
During the 1930s, Bohr helped refugees from Nazism. After Denmark was occupied by the Germans, he had a famous meeting with Heisenberg, who had become the head of the German nuclear weapon project. In September 1943, word reached Bohr that he was about to be arrested by the Germans, and he fled to Sweden. From there, he was flown to Britain, where he joined the British Tube Alloys nuclear weapons project, and was part of the British mission to the Manhattan Project. After the war, Bohr called for international cooperation on nuclear energy. He was involved with the establishment of CERN and the Research Establishment Risø of the Danish Atomic Energy Commission, and became the first chairman of the Nordic Institute for Theoretical Physics in 1957.
Artwork: TudioJepegii
This was an experiment I found in Bryan Peterson's book, "Understanding Shutter Speed".
Setup is:
- Middle of the day sun
- Glass Vase ($6.99 from Crazy Clark's)
- Mineral Water ($0.83 for Home Brand)
- Reflector (I used a car reflector)
- Stand or Chair (I used an esky, or chilly-bin if you are from NZ)
- Blue Cardboard (I used a yoga mat)
- Tripod
- Macro Lens (I used a 200mm zoom lens)
I found the best way was to set the camera to continuous, AI Servo and an aperture of F8 and Shutter Speed of 1/500 - 1/2000 (intentionally underexposing at around 1/1250 by 1 - 2 stops seems to work well).
I then used one hand to hold the Yoga mat close to the glass, one hand on the button and dropped strawberries from my mouth - seemed to work well.
700 plus shots later - this was the best one. Not too bad.
Make sure you wipe the glass down periodically as the mineral water does leave a residue.
A Haitian child eating a MannaPack meal.
For more info on Feed My Starving Children, please visit: www.fmsc.org
Orthodox Christianity became the established church of the Ethiopian Axumite Kingdom under king Ezana in the 4th century through the efforts of a Syrian Greek named Frumentius who later became its first bishop.
© ALL RIGHTS RESERVED.
Don't use this image on websites, blogs or other media. Use without permission is illegal.
© Frank Janssens
A surprisingly chipper Elvis Costello was second on the bill to Ray Davies at the free concert - and he played this song, by far my favourite !
For last Saturday's Rolling Stones photographs see here
Hyde Park, London, UK
Dome interior. The lettering around the dome reads: Wisdom is the principal thing, therefore get wisdom, and with all thy getting, get understanding. Exalt her and she shall bring thee to honour. (From Proverbs 4:7).
In 2013 the University of Edinburgh announced plans to spend £34m on improvements to the McEwan Hall and Bristo Square area. www.ed.ac.uk/estatesprojects/central-area/live-capital-pr...
Designed by LDN and Buro Happold this scheme is designed to restore the A listed Robert Rowan Anderson building and enhance accessibility.
LDN images: www.ldn.co.uk/projects/mcewan_hall.php?m=10#
Work started in April 2015 and is due to be completed in time for the summer 2017 graduations in July 2017.
The McEwan Hall was designed by architect Robert Rowand Anderson in 1875 as part of a University Medical School complex, revised 1886-7 and executed 1887-97. It is a D-plan Italian Renaissance graduation hall.
The interior murals, including 15 figures in the dome, representing Arts and Sciences were by William N Palin.
The organ was designed and installed 1897 by Robert Hope-Jones (1859-1914).
Category A listed: portal.historicenvironment.scot/designation/LB27993
Understanding the human brain is the main concern of current medical research. New imaging technologies such as functional magnetic resonance imaging (fMRI) allow to visualise the activity of the brain. The Ars Electronica Center Linz is hosting Science Days on the matter of the human brain.
credit: Martin Hieslmair
San Jerónimo el Real. Parque del Prado. Leica-M6 TTL 0,72 Elmarit-M 1:2.8/21mm ASPH
Nikon super Coolscan 5000ed.
Ilford Delta 100asa. Kodak developer HC 110 1+31 (B)
🔴Leica my point of view.
Wetzlar, Deutschland.
Leica-CL 1974 Rangefinder
Leica-M 6 TTL 0.72 1998 Rangefinder
Leica-M6 TTL 0.85 2001 Rangefinder
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.
A general view of participants at a concert for the Understanding of Civilizations and Human Rights in the United Nations in Geneva. 31 october 2015. UN Photo / Jean-Marc Ferré
I reproduce here the vintage photograph of Ice House (Vivekananda House), Marina, Madras. This photo has appeared elsewhere before and in my understanding the copyrights on them have expired.
Location: Ice House (Vivekananda House), Marina, Madras, Tamil Nadu.
Architecture: Victorian architecture
Frederic Tudor, , better known as the "Ice King." built three houses in Kolkata , Mumbai and Chennai to keep ice under proper insulation so that it could be stored for months together. Amongst the three buildings the one at Chennai alone stands today. It was built in the year 1842.
Later Mr.Biligiri Iyengar purchased this building and named as ‘Castle Kernan.’ The two-story house is a masterpiece of Victorian architecture with its characteristic designs of sunburst and gabled roof.
In the Astrotech facility at Vandenberg Air Force Base in California, NASA's Interior Exploration using Seismic Investigations, Geodesy and Heat Transport, or InSight, spacecraft is lifted for placement on a spin table during preflight processing. InSight will be the first mission to look deep beneath the Martian surface. It will study the planet's interior by measuring its heat output and listen for marsquakes. The spacecraft will use the seismic waves generated by marsquakes to develop a map of the planet’s deep interior. The resulting insight into Mars’ formation will provide a better understanding of how other rocky planets, including Earth, were created. InSight is scheduled for liftoff May 5, 2018.
Photo credit: USAF 30th Space Wing/Dan Herrera
A Mentor Paperback--as a geeky kid I bought dozens of books from Mentor (New American Library) on history, art and science. They had stiff paper covers laminated with a thin plastic that tended to split, crack and peel. Does anybody else remember this?
This edition "On Understanding Science," was published in 1951. Author James B. Conant is a "famous scientist" who "explains science and its role today." No creationism in this tome.
Personally, I like the surrealistic cover.
Women and children from Mugeyo, a small village north east of Kigali, in Gasabo district take part in a survey aimed at understanding the links between agriculture and nutrition and determine the specific causes of stunting in children under two.
In Rwanda, agricultural production and GDP have increased yet 43 per cent of children under five suffer chronic malnutrition, and stunting in some areas is as high as 60 per cent.http://www.ciatnews.cgiar.org/?p=7981 Credit: Stephanie Malyon / CIAT
There will never be
Another one like you
There will never be
Another one who can
Do the things you do, oh
Will you give another chance?
Will you try, little try?
Please stop and you remember
We were together, anyway, all right
And if you have a certain evenin'
You could lend to me
I'd give it all right back to you
A how it has to be with you
I know your moves and your mind
MY WEBSITE | FACEBOOK | FLUIDR | BLOG
ORLANDO, Fla. - Soldiers from the 143d Sustainment Command (Expeditionary) joined their active duty and Reserve Officer Training Corps brothers and sisters in welcoming tens of thousands of spectators to the Florida Classic, one of the nation’s largest football rivalries between two historically black colleges: Bethune–Cookman University and Florida A&M University.
In the hours leading to the opening kickoff Nov. 19, 2016, at Camping World Stadium in Orlando, Fla., the Soldiers helped members from the Army Marketing Research Group encourage BCU and FAMU fans to test their strength, endurance and mental aptitude in various interactive activities featured at the Go Army booths. The troops motivated men and women from all walks of life to set personal records for planks, pullups and pushups. They also lent a hand in several creative challenges that emphasized teamwork and critical thinking.
Many of the thousands of fans who waited for their turn to don blindfolds, solve puzzles or perform pullups spoke with the troops about their training, experience and aspirations. While these casual conversations opened opportunities to introduce potential recruits to the Army’s robust enlisted and Reserve Officer Training Corps programs, they also fostered greater respect and understanding about the Army’s role in developing strong communities and mutually beneficial partnerships both at home and abroad.
The fans’ energy, enthusiasm and camaraderie also demonstrated that the Florida Classic and the U.S. Army share common values. Their sincere interest in learning about the Army’s vision, capabilities and career opportunities exemplified how rivalries on the gridiron can shape resilient individuals who possess the character qualities to lead and mentor men and women on the battlefield.
Several Soldiers received complimentary access to the field during the game. Army Master Sgt. Shantell D. Aviles, noncommissioned officer-in-charge, Office of the Inspector General, 143d ESC, watched many Florida Classic football games during her childhood and teenage years. Although she and her family were no strangers to seeing the game from the stands, Aviles had never before set foot on the sidelines. With a smile never left her face, she took full advantage of the exclusive press pass to take photos with the mascots, shake hands with the drum majors, and cheer her FAMU Rattlers from the endzone.
Photo by Sgt. John L. Carkeet IV, 143d ESC
#GoArmy
#Armyexperience
#floridaclassic
#famu
In theoretical physics, M-theory is a new limit of string theory in which 11 dimensions of spacetime may be identified. Because the dimensionality exceeds the dimensionality of five superstring theories in 10 dimensions, it was originally believed that the 11-dimensional theory is more fundamental and unifies all string theories (and supersedes them). However, in a more modern understanding, it is another, sixth possible description of physics of the full theory that is still called "string theory." Though a full description of the theory is not yet known, the low-entropy dynamics are known to be supergravity interacting with 2- and 5-dimensional membranes.
This theory is the unique supersymmetric theory in eleven dimensions, with its low-entropy matter content and interactions fully determined, and can be obtained as the strong coupling limit of type IIA string theory because a new dimension of space emerges as the coupling constant increases.
Drawing on the work of a number of string theorists (including Ashoke Sen, Chris Hull, Paul Townsend, Michael Duff and John Schwarz), Edward Witten of the Institute for Advanced Study suggested its existence at a conference at USC in 1995, and used M-theory to explain a number of previously observed dualities, sparking a flurry of new research in string theory called the second superstring revolution.
According to Witten and others, the M in M-theory could stand for master, mathematical, mother, mystery, membrane, magic, or matrix. Witten reluctantly admits the M in M-theory can also stand for murky because the level of understanding of the theory is so primitive. [1] However, originally the letter was taken from membrane, but since Witten was more skeptical to membranes than his colleagues, he just kept the "M". Later, he let the meaning be a matter of taste for the user of the word "M-theory".[2]
In the early 1990s, it was shown that the various superstring theories were related by dualities, which allow physicists to relate the description of an object in one super string theory to the description of a different object in another super string theory. These relationships imply that each of the super string theories is a different aspect of a single underlying theory, proposed by Witten, and named "M-theory".
M-theory is not yet complete; however it can be applied in many situations (usually by exploiting string theoretic dualities). The theory of electromagnetism was also in such a state in the mid-19th century; there were separate theories for electricity and magnetism and, although they were known to be related, the exact relationship was not clear until James Clerk Maxwell published his equations, in his 1864 paper A Dynamical Theory of the Electromagnetic Field. Witten has suggested that a general formulation of M-theory will probably require the development of new mathematical language. However, some scientists have questioned the tangible successes of M-theory given its current incompleteness, and limited predictive power, even after so many years of intense research.
In late 2007, Bagger, Lambert and Gustavsson set off renewed interest in M-theory with the discovery of a candidate Lagrangian description of coincident M2-branes, based on a non-associative generalization of Lie Algebra, Nambu 3-algebra or Filippov 3-algebra. Practitioners hope the Bagger-Lambert-Gustavsson action (BLG action) will provide the long-sought microscopic description of M-theory.
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Memorandum of Understanding Signing Ceremony with U.S. Fish and Wildlife Service, Smithsonian Institution, and George Mason University. October 26, 2012
Photos by LaVonda Walton/USFWS
Stanislas de Guaita (6 April 1861, Tarquimpol, Moselle – 19 December 1897, Tarquimpol) was a French poet based in Paris, an expert on esotericism and European mysticism, and an active member of the Rosicrucian Order. He was very celebrated and successful in his time. He had many disputes with other people who were involved with occultism and magic. Occultism and magic were part of his novels.
Early life
De Guaita came from a noble Italian family who had relocated to France, and as such his title was 'Marquis', or Marquess. He was born in the castle of Alteville in the commune of Tarquimpol, Moselle, and went to school at the lyceum in Nancy, where he studied chemistry, metaphysics and Cabala.[1] As a young man, he moved to Paris, and his luxurious apartment became a meeting place for poets, artists, and writers who were interested in esotericism and mysticism. In the 1880s, Guaita published two collections of poetry The Dark Muse (1883) and The Mystic Rose (1885), which became popular.
Rosicrucian activities
De Guaita's drawings of the upright and inverted pentagrams, representing Spirit over matter (holiness) and matter over Spirit (evil), respectively, from his book La Clef de la Magie Noire, in 1897.
De Guaita was influenced by the writings of l'Abbé Alphonse-Louis Constant, alias Eliphas Lévi, a prominent French occultist who was initiated in London to rosicrucianism by Edward Bulwer-Lytton in 1854.[2] Eliphas Lévi was also initiated as a Freemason on 14 March 1861 in the Grand Orient de France Lodge La Rose du Parfait Silence at the Orient of Paris. De Guaita became further interested in occultism after reading a novel by Joséphin Péladan which was interwoven with Rosicrucian and occult themes. In Paris, de Guaita and Péladan became acquainted, and in 1884, the two decided to try to rebuild the Rosicrucian Brotherhood.[2] They recruited Gérard Encausse to help rebuild the brotherhood. Encausse, who went by the pseudonym “Papus”, was a Spanish-born French physician and occultist who had written books on magic, Cabalah and the Tarot.
In 1888, De Guaita founded the Ordre kabbalistique de la Rose-Croix, or the Kabbalistic Order of the Rose-Cross. Rosicrucianism is an esoteric movement which first began with the publication of the three Rosicrucian Manifestos in the early 17th century. Guaita's Rosicrucian Order provided training in the Cabala, an esoteric form of Jewish and Christian mysticism, which attempts to reveal hidden mystical insights in the Bible and divine nature.[1] The order also conducted examinations and provided university degrees on Cabala topics. Guaita had a large private library of books on metaphysical issues, magic, and the "hidden sciences." He was nicknamed the "Prince of the Rosicrucians" by his contemporaries for his broad learning on Rosicrucian issues. Papus, Peladan, and Antoine de La Rochefoucauld were prominent members. Maurice Barrès was a close friend of De Guaita.
In the late 1880s, the Abbé Boullan, a defrocked Catholic Priest and the head of a schismatic branch called the “Church of the Carmel” led a “magical war” against de Guaita. French-Belgian novelist Joris K. Huysmans, a supporter of Boullan, portrayed De Guaita as a Satanic sorcerer in the novel La Bas. Another of Boullan’s supporters, the writer Jules Bois, challenged De Guaita to a pistol duel. De Guaita agreed and took part in the duel, but as both men missed, no one was hurt.
By the 1890s, De Guaita's, Papus' and Péladan’s collaboration became increasingly strained by disagreements over strategy and doctrines. Guaita and Papus lost the support of Péladan, who left to start a competing order. It is in the writings of his friend and childhood roommate Péladan that Stanislas de Guaïta found his first entry into the world of Tradition. Subsequently, reading the work of Eliphas Lévi, of which he would henceforth become the commentator and theorist, initiated him into Christian mysticism; Fabre d'Olivet directs him towards the great mysteries in general and towards the Hebrew language; and Saint-Yves d'Alveydre initiated him into the Synarchy. He joined the very recent Martinist Order of his friend Papus, then a medical student, whose pseudonym he mocked.
In light of all these influences, Guaita advocates a spiritualism exalting the Christian Tradition, which, thanks to the possible establishment of synarchy – an ideal form of government – should lead to the advent of the kingdom of God. In 1888, in the same spirit, he founded with Péladan the Kabbalistic Order of the Rose-Croix, of which Papus immediately joined, Erik Satie and the artists' banker, Olivier Dubs also joined. Peladan then separated from it to found another order: the Catholic Rosicrucians, alleging its refusal of operative magic. In 1887, in collaboration with his secretary and friend Oswald Wirth, he created a Kabbalistic Tarot which is reproduced in the Tarot des Bohemiens by Papus3.
In 1893, the Order of Guaita was attacked by Huysmans, who accused it of bewitching the defrocked Lyon abbot Joseph-Antoine Boullan from a distance. Duels ensue; Huysmans and Jules Bois oppose Papus and Guaita.
Stanislas is still this young poet less fascinated by Baudelairian taste than by the perfect aesthetic of Parnassus by Leconte Delisle and Mallarmé. Moreover, Alain Mercier4, will confirm that Guaita poet “by his classicism of form and writing, is closer to the Parnassians than to the Symbolists. Thus there were two distinct beings in him: the aristocratic and generous hermetic on the one hand, the tormented poet worried about artifice on the other. It was the writer Mendès who encouraged him to read Éliphas Lévi. His original drawing of an inverted pentagram with a goat's head appeared in La Clef de la Magie Noire (The Key to Black Magic), published the year he died. It later became conflated with Baphomet, or the Sabbatic Goat.
He died on December 19, 1897, at the age of 36, in Alteville. He is buried in Tarquimpol7,8. The causes of his early death were explained by kidney problems or drug use. Regarding drugs, he wrote:
“Coca, like hashish, but in other ways, exerts a direct and powerful action on the astral body; its customary use unties, in man, certain compressive links of his hyperphysical nature – links whose persistence is for the greatest number a guarantee of salvation. If I spoke without hesitation on this point, I would encounter unbelievers, even among occultists. I must confine myself to advice. — You who value your life, your reason, the health of your soul, avoid hypodermic injections of cocaine like the plague. Without speaking of the habit which is created very quickly (even more imperative, more tenacious and more fatal a hundred times than any other of the same kind), a particular state has taken birth. »
His rich library, made up of works, parchments, alchemical treatises and grimoires dating back to time immemorial, was dispersed during several sales in Paris, in 1899 (Dorbon - René Philippon), and in 1968 (Drouot ) and 2014 (Piasa).
Stanislas de Guaita seen by his contemporaries
“He spent five months of the year in a small ground floor on Avenue Trudaine, where he only received a few occultists, and from which he sometimes did not leave for weeks. There he had amassed a whole strange and precious library, Latin texts from the Middle Ages, old grimoires loaded with pentacles, parchments illuminated with miniatures, alchemy treatises, the most esteemed editions of Van Helmont, Paracelsus, Raymond Lulle , Saint-Martin, Martinès de Pasqually, Corneille Agrippa, Pierre de Lancre, Knorr de Rosenroth, manuscripts by Eliphas, bindings signed Derome, Capé, Trautz-Bauzonnet, Chambolle-Duru, works of contemporary science. » (Maurice Barrès, A renovator of occultism: Stanislas de Guaita, Chamuel, 1898, p. 29)
“Starting from Eliphas Lévi, he went back to the Kabbalists of the Renaissance and the Hermetic Philosophers of the Middle Ages, reading everything and understanding everything with prodigious ease. The most obscure texts became illuminated as soon as he projected the clarity of his solar spirit onto them. He played with metaphysical problems and I was far from being able to follow him..." (Oswald Wirth, Le Tarot des Imagiers du Moyen Âge, Émile Nourry, Paris, 1927.)
“He was very rich, and had devoted himself to occult sciences without knowledge or method. He only saw the picturesque side of it, like Rembrandt, like Téniers, like Jordaëns. Dressed in a red robe, sword in hand, in a setting that Breughel would not have disavowed, he evoked fantasies and dissolved larvae. The truth is that, saturated with morphine and alcohol, he really believed he saw animals climbing along his limbs, and specters moving stubbornly before his eyes. » (Michel de Lézinier, With Huysmans - Promenades et souvenirs, Paris, Delpeuch, 1928.)
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MINI-SERIES; Starring Modeling Troupe at Blythe Fifth Avenue
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BLYTHECON L.A. OR BUST: (wow, how original can I get!? sorry ;)
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CAST:
Starring OPHELIA O’HARA (California Sun Blonde VainillaDolly custom on right);
NENETL NENETL (redhead ADG on left; packing her bags);
VENUS de VIOLET (girl on sidelines; far left)
***
OPENING SCENE: :
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Ophelia O'Hara finds Nenetl in the BFA Lounge, surrounded by a flurry of sundries, suitcases, purses and bags, all in different stages of disarray.)
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OPHELIA: "Here’s the backpack you wanted to borrow, sist- … WHAT —is all THIS ???"
NENETL: "I heard there is a Blythecon coming up, and I am sick of sitting on these shelves collecting dust … so I am packing … going to call Blythe-Uber for a ride to the airport …"
OPHELIA: "Good luck thinking you are going outside, Nenetl …
just so you know, I was promised a BEACH photoshoot … 3 years and 8 months ago!
AND … I have been dressed in this SAME OUTFIT since JANUARY … 2015 !!!!!
SO ... if ANY of us from Blythe Fifth Avenue Modeling Troupe (and Charm School!) get to go ANYWHERE,
she better chose ME!”
NENETL: “Well, look around ... we have ALL been "dressed and ready to go" for YEARS ... but no one ever seems to get off these shelves!! Besides ... I am her FIRST BLYTHE EVER, so of COURSE she WILL BE TAKING ME!"
VENUS: ::walking into the scene/ overhearing conversation:: “GIRLS … You both realize no airline flight is necessary, RIGHT? ... The BLYTHECON is IN LOS ANGELES ... right down the street!"
NENETL & OPHELIA: :: ?? !! ?? ::
VENUS: “Not only that, but I know we already GOT a ticket!"
GIRLS: “Woo hoo !!"
VENUS: “Don’t get too excited, sisters … you can put away all your suitcases and your dreams …
pretty sure I AM THE ONE GOING with Mom, ‘cause I have HOLLYWOOD HAIRS!!!”
::mild model-cat-fight ensues::
... to be continued ...
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GREETINGS flickr friends!!! Yes, we are still (barely) alive over here; LOTS of LIFE events have been transpiring …
... some good, some devastating; all happening one after another, some simultaneously — 2017 and 2018 have sort of blended into each other … but suffice it to say that all I seem to be doing is “put out fires”, before the next calamity presents itself. All these events are life-changing challenges, so can not be ignored … so much so that there is virtually no time to “play”… making it a necessity to put my poor little BFA Modeling Troupe on the back burner while I sort out some things that is now my life (ugh) …
Just know that I think of you all the time, and am continuing to work diligently to getting BACK to this beautiful BLYTHE WORLD that I love!!! (gosh, how many times have I come with THAT story? !! Only because, it now foolishly appears, I actually BELIEVE it, each time I say it! But the good ol’ Universe … just laughs!! :)
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I have a few photos to share for this current SEPTEMBER 2018 Blythe-A-Day Flickr Group
(and, honestly, believe it or not, I DO EVERY MONTH!; then ... “something happens” and my intentions fall by the wayside ... once again thwarted by forces beyond my control … so the end result from The Universe is: “You can plan, and you can plan your little Blythe photo shoots, but in the end, NO PLAYING FOR YOU! hhhaaaaahahaha!!!” … leaving me scratching my head and wondering what the H— I am doing WRONG, as I am faced with yet another “situation”, yet another “set-back”, yet another huge monumental “UGH”, I have no choice but to DEAL WITH IT … IMMEDIATELY.)
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I DID purchase a ticket to BLYTHE-CON LOS ANGELES (while I was employed!) (for September 30), as we do live right here in Los Angeles County. Of course we will attend, with the help from some of you <3 … but until some things are truly SETTLED, I must accept this life as it is presented to me … and work on changing those things that ARE in my power, before I can realistically make this gleeful announcement: “WE’RE BAAAAACK!”
I would love nothing more.
To start up our usual Blythe shenanigans right now in OUR usual BFA Style ...
(which is “ALL … or NOTHING” (!!) … is just not going to happen ... even after this September … mainly because I am unemployed … (YES!! at 61!) and I am finding myself faced with what is daunting at ANY age … much less 61 … looking for a job!
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(After years and years of faithful, dedicated, life-long service, I was dissed, dismissed, and told “you’re fired”. It hurts to the very core of my soul, I’m not gonna lie … but not being independently wealthy by any stretch of the imagination, I don’t even have the luxury of sitting around feeling sorry for myself … no! (ha!) Must go right back out there and face evil again, i.e., get another job. )
My “nearest and dearest” friends and family KNOW that “I am a survivor” … and this post is NOT meant to garner sympathy … heck, I know times are tough all over, worldwide ... and we ALL have life situations to deal with ... I get that ... but I did not want to just throw a Blythe photo out here on flickr and not say a word ... after being gone for soooo long.
Just wanted ya’ll to know how very much I MISS YOU … the entire Blythe Fifth Avenue Modeling Troupe misses working every day (!) ... and of course, we miss all YOUR great photo entries. NEXT JULY (2019), I WILL be turning 62 (the absolute minimum legal retirement age here) … at which time, maybe I CAN make that grand announcement … (sure hope The Universe is not reading this … ‘cause I NEED TO RETIRE!!! ... and I NEED TO GET BACK TO BLYTHE !!!)
Thank you for all who have reached out to me, and Thank you for your understanding ~
XXXOOOXOXOXOXOOO
Love,
Heidi and the entire troupe at
Blythe Fifth Avenue School of Modeling (and Charm!)
<3
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BLYTHE-A-DAY
SEPTEMBER 2018 flickr group
SEPTEMBER 30: BLYTHECON (!!!!!)
(Sorry, I HAD to post this one FIRST, for obvious reasons ... saga to be continued ...)
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Antenna's on NASA's Parker Solar Probe are deployed for testing at the Astrotech processing facility in Titusville, Florida, near NASA's Kennedy Space Center on Thursday, April 19, 2018. The Parker Solar Probe will launch on a United Launch Alliance Delta IV Heavy rocket from Space Launch Complex 37 at Cape Canaveral Air Force Station in Florida no earlier than Aug. 4, 2018. The mission will perform the closest-ever observations of a star when it travels through the Sun's atmosphere, called the corona. The probe will rely on measurements and imaging to revolutionize our understanding of the corona and the Sun-Earth connection.
Photo credit: NASA/Kim Shiflett
The National Intellectual Property Rights Coordination Center (IPR Center), the Motion Picture Association (MPA) and the Alliance for Creativity and Entertainment (ACE), the U.S. Chamber of Commerce’s Global Innovation Policy Center (GIPC) as well as CTAM, the industry marketing organization, today announced a multi-layered partnership designed to strengthen innovation and collaboration within the organizations’ collective content protection efforts.
Derek N. Benner, Executive Associate Director for Homeland Security Investigations (HSI), a division of U.S. Immigration and Customs Enforcement which oversees the IPR Center, and Karyn Temple, Senior Executive Vice President and Global General Counsel for the MPA, signed a memorandum of understanding (MOU) during a virtual ceremony to commemorate the partnership.
The Memorandum of Understanding (MoU) was signed on 18 Spetember 2018, to continue support of the 'Edified Generation' scholarships' programme.
The Chinese Embassy greatly supports the development of education in Rwanda and strives to do this through helping disadvantaged students under Imbuto Foundation’s scholarship programme – Edified Generation.
Imbuto Foundation and the Chinese Embassy have signed MoUs in support of the scholarship programme since 2013.
Greater Manchester Police have paid tribute to those who have lost their lives in terror attacks around the world.
Officers from GMP’s Bury division were among those at a ceremony to plant a tree, which had been donated by Bury Council.
The tree has been decorated with messages of hope and support following an event in conjunction with Collabor8 earlier this year.
Collabor8 is an annual event held in celebration of Bury’s diverse community and is aimed at bringing people together to create an opportunity for attendees to develop their own cultural awareness and understanding; enabling communities to breakdown stereotypes, eradicate problems and provide a platform to further tackle hate crime.
A plaque has also been designed and has been installed next to the tree with a message of hope, support and remembrance from GMP officers and the wider community.
Superintendent Sue Downey of GMP's Bury district said: “This tree, which was kindly donated by Bury Council, will stand in the memorial garden to serve as a token of remembrance.
“We hope members of the community and further afield will leave their messages of hope for all those that have been injured and affected by these incidents across the world.”
Cllr Sharon Briggs, Bury Council’s cabinet member for communities, added: “Across the world, many innocent people have had their lives taken by acts of terror. This is a symbolic way of remembering them, and helping to spread the message of peace.”
To find out more about Greater Manchester Police please visit
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give evidence.
Gov. Inslee and Chilean Ambassador Alfonso Silva Navarro sign the Memorandum of Understanding to strengthen both countries relationship and commitment towards international action on climate change; building a global, innovative, inclusive and clean energy economy; ensuring safe and resilient communities; and cultivating innovation and providing economic opportunity for all citizens.
Cosplayers at Leipziger Buchmesse / Leipzig Book Fair 2014
2014_040
2014#108
Wickedy (Rebecca) 536193 as Rumpelstilzchen from Grimm's Manga
Skylark (__) 531510 as Sophie from Grimm's Manga
Photos posted are 1024x768 pixels in size. Higher resolution (3000x2000) for models only, sorry.
Thank you for any group invites which I will gladly accept. However, if I can't check the content of such groups ("This group is not available to you") I'd rather not add any of my photos. Thanks for your understanding.