developing photos on Flickr

05/05/2023. London, United Kingdom. Anne-Marie Trevelyan, Minister of State for Foreign Affairs greets Suriname Honorary Consul Amwidhker Jethu-Ramkrishan at the Small Island and Developing Nations Coronation Event at Lancaster House. Picture by Lauren Hurley / DHSC

UN Women Executive Director attends the Third International Conference on Small Island Developing States in Samoa in 2014 by UN Women

UN Women Executive Director Phumzile Mlambo-Ngcuka at Samoa Victim Support Group during a site visit at the UN 3rd Small Island Developing States Conference, Samoa 2014.

Photo: UN Women/ Olivia Owen

See more at: www.unwomen.org/en/news/in-focus/sids

Developed-78 by Music Will

俺の彼女はヒトでなし英盟依 01 DxO FP by Ryo FUKAsawa

developed with DxO Optics Pro 6.52, FilmPack 2 Astia 100F

image by Željko Serdar

In smaller countries, like Croatia, where oil demand is low, and emission standards are poor, algae biofuel has the potential to significantly reduce reliance on foreign oil.

CCRES ALGAE TEAM

works on

Biodiesel from Microalgae

The oil from the algae can be used for any combustion process. An even wider range of use for algae oil is obtained by the transesterification to biodiesel. This biodiesel can be blended with fossil diesel or can be directly driven as pure biodiesel B100.

Biodiesel from microalgae has a comparable quality as rapeseed methyl ester and meets the standard EN 14214. At biodiesel production about 12% glycerin is produced as a by-product. This glycerin is a valuable resource for the production of algae in closed ponds, the heterotrophic processes. Thus, the entire algae oil can be used as fuel.

Fish Food

Algae provide a natural solution for the expanding fishing industry:

High-protein fish food

Replacement for existing fish meal production

Algae have nutrients of many young fishes available

The fishing industry recorded an annual growth of over 10% and, according to experts, will beat the global beef consumption in 2015.

The Technology developed by CCRES offers the opportunity to deliver part of the needed proteins for fish farming on the resulting algal biomass.

Protein for the food industry

The demand for high-quality protein for the food industry has been growing rapidly over the years.

The big growth opportunities are:

Weight control

Fitness and Sports Nutrition

Food supplements

The market volume in the protein sector is continously growing and at the rate of US $ 10.5B in 2010 and according to experts, will steadily increase to approx. $25B until 2030.

“There is intense interest in algal biofuels and bioproducts in this country and abroad, including in US,Australia, Chile, China, the European Union, Japan, Korea, New Zealand, and others,” says Branka Kalle, President of Council Croatian Center of Renewable Energy Sources (CCRES).

Advantages algae has over other sources may make it the world’s favored biofuel. Algae could potentially produce over 20 times more oil per acre than other terrestrial crops.Algae avoids many of the environmental challenges associated with conventional biofuels.Algae does not require arable land or potable water, which completely avoids competition with food resources.

“The Asia Pacific region has been culturing algae for food and pharmaceuticals for many centuries, and these countries are eager to use this knowledge base for the production of biofuels,”says Zeljko Serdar, President of CCRES.

Without sustained high prices at the pump, investment in algae will likely be driven by demand for other products. In the short term, the growth of the industry will come from governments and companies seeking to reduce their environmental impact through carbon collection.

CCRES ALGAE TEAM

part of

Croatian Center of Renewable Energy Sources (CCRES)

Objavio CROATIAN CENTER of RENEWABLE ENERGY SOURCES 27th October 2012

Oznake: algae Algae Astaxanthin CCRES CCRES - ALGAE AND BIOFUEL CCRES ALGAE TEAM CROATIAN CENTER of RENEWABLE ENERGY SOURCES HCOIE HRVATSKI CENTAR OBNOVLJIVIH IZVORA ENERGIJE

2 Prikaz komentara

CROATIAN CENTER of RENEWABLE ENERGY SOURCES2. studenoga 2012. u 08:18

Growing algae for biofuel not only provides a viable source of alternative energy, but also yields significant economic benefits.

Minimal land use

Algae require much less land than traditional row crops, such as corn. In addition, algae can grow on non-arable, nutrient-poor land that won’t support conventional agriculture.

High yielding

Algae grow quickly at a large scale and can potentially generate up to 50 times more the amount of oil per acre than row crops, like corn and soybeans, which produce vegetable oil.

Non-competitive with agriculture

Production of algae for biofuel doesn’t require arable land needed for food production, fresh water for irrigation, or application of petroleum-based fertilizers. Algae farms can thrive and expand without taking land that’s needed for crops.

Renewable energy usage

Sunlight is the original source of all liquid fuels. Algae use photosynthesis to capture sunlight energy to produce oxygen and carbohydrates, creating a natural biomass oil product.

Security

Algae biofuels create a sustainable pathway to energy independence.

CCRES ALGAE TEAM

OdgovoriIzbriši

CROATIAN CENTER of RENEWABLE ENERGY SOURCES30. studenoga 2012. u 16:45

Green Car Congress reports that biodiesel derived from microalgae, yeast, and bacteria can effectively outperform both petroleum diesel and biodiesel produced from plant oils, according to the findings of a new study by a team from Utah State University.

The researchers, who reported their results in a paper published in the ACS journal Energy & Fuels, examined the properties, engine performance, and emissions for biodiesel produced from the microalgae Chaetoceros gracilis; the yeast Cryptococcus curvatus; and the bacterium Rhodococcus opacus, all compared with commercial soybean biodiesel.

From the study: While biodiesel derived from plant seed oils has advantages as a replacement for petroleum diesel, there is strong interest in the potential for biodiesel produced from microbial derived oils because of potential use of contaminated water, the diversity of oils that can be produced, use of marginal lands, and potential for higher oil yields per acre. Three different groups of microbes are known to produce high neutral oils including select microalgae, bacteria, and yeast.

Plant-based oils, commonly used to produce biodiesel (e.g., soybean, canola, and sunflower) are similar to one another in terms of fatty acid composition, containing primarily C16 and C18 fatty acids with varying degrees of unsaturation. Microbial oils, however, can differ substantially and may contain uncommon fatty acids that differ in both chain length and structure.

This study demonstrates that microbial-derived biodiesel shows comparable properties in the parameters tested to soybean biodiesel. Future wide scale use of microbial oils as a source for biodiesel will require advances in large-scale cultivation, dewatering, and oil extraction.

OdgovoriIzbriši

CCRES Welcome to CCRES Aquaponics!

Klasično Kartica Časopis Mozaik Bočna Traka Snimka Vremenski Prikaz

NedavnoDatumOznakaAutor

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\Y/ by N-J9man

3

LOMO LC-A (RUSSIA)

MINITAR-1 32mm F2.8

Lomography_Color_Negative_400

Self_developed ORIENTAL-CNL_Dev

EPSON GT-X980

Panzer 61 ’77640’ by Alan Wilson

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Cold War era Swiss Main Battle Tank

Built:- 1965 to 1967

Manufacturer:- Eidgenössische Konstruktionswerkstätte, Thun

Total Production:- 150

In service:- 1965 to 1994

Main Armament:- 105mm Royal Ordnance L7

The Panzer 61 (Pz61) was an indigenous Swiss design developed from the Panzer 58. They served only with the Swiss Army.

In running condition, this example has been part of the Tank Museum since 1995 and is seen in the Kuwait Arena during TankFest 2019

The Tank Museum, Bovington Camp, Dorset, UK.

29th June 2019

New-fangled Tablet Computer by Jitze Couperus

2

I have trouble mastering the iPad, so instead I’m checking out this new one specially developed for senior citizens. It has large keys (easier for trembling hands) and a large display (a sight for older eyes) capable of showing any number up to 8 digits long. It has a memory capable of holding an intermediate result or constant, and can add, subtract, multiply and divide. (It can’t pull a square root however). Pretty cool huh?

Futures by Bob Cotter

2

What does the future hold. For these, hopefully some juicy grapes that will be picked and eaten. The growth of plants is not unlike the growth of our students and children and grandchildren. Incremental. For those us who are now principals at the elementary level (as I was, though not now) these days see the start of school and the arrival of the kindergarten students, many of whom will will watch move through the classes for many years until they head to middle or high school. For the classroom teacher, in a small district like ours, some of the students they enroll as school starts this year will be children they have watched grow for as many as three years. For those of us who are parents and still provide help, assistance, guidelines to our adult children, the time has flown as we have watched them grow and develop. It is not only about simply watching the growth though, there is a lot about nurturing and caring. As I look forward to my work with teachers and students and my own staff over the next number of months, I hope to see wonderful changes occur.

MONUSCO participants of the 3 day pilot course to develop training materials for an integrated approach for peacekeeping missions to sexual violence in conflict make the ‘stop rape’ by MONUSCO Photos

Les participants de la MONUSCO - à un cours pilote de 3 jours devant élaborer le matériel de formation pour une approche intégrée des missions de maintien de la paix sur les violences sexuelles commises lors des conflits - transmettent par ce geste le message ‘Arrêtez les viols’. By MONUSCO/Abel Kavanagh

===

MONUSCO participants of the 3 day pilot course to develop training materials for an integrated approach for peacekeeping missions to sexual violence in conflict make the ‘stop rape’ sign. By MONUSCO/Abel Kavanagh

20191027_SIGMA fp + 45mm F2.8 DG DN C019_11 by foxfoto_archives

1

SIGMA fp + 45mm F2.8 DG DN C019

Developed by SIGMA Photo Pro 6.7.0

Vaso di Milano by Philip Chapman-Bell

4 3

The walls of this really are straight up and down. Kind of like a tin can with propeller vanes.

ミドリヒョウモン - Argynnis paphia by Kunio Yoshikawa

5

developed P1043418 raw file

Develop the spirit for the bitter struggle of doing pioneering work by chineseposters.net

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Designer: Huang Zongrui (黄宗瑞)

1980, September

Develop the spirit for the bitter struggle of doing pioneering work

Fayang jianku fendoude chuangye jingshen (发扬艰苦奋斗的创业精神)

Call nr.: E13/303 (Landsberger collection)

More? See: chineseposters.net

神田裏ーロード by N-J9man

8

LOMO LC-A (RUSSIA)

MINITAR-1 32mm F2.8

ILFORD HP5+ 400

Self_developed FX-5_Dev

Fujicolor Superia X-Tra 800 developed with Tetenal colortec by Dario Scommegna

1

Ricoh 500G

Developing Storm (4) by Stephen Kerr

3

This last of 4 images shows the original view (more or less). I love the light in this one. Ben Stack is now obliterated by the clouds and Handa Island on the far right is looking amazing.

1328695949__IMG_3445.CR2.cr2 by Ostbahn

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Developed using darktable 3.0.1

Coffinswell Devon by jmc4 - Church Explorer

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Church of St Bartholomew, Coffinswell Devon

The village seems to have developed as a settlement beside the springs (one perhaps a sacred well) where the lands of 2 agricultural Manors of that time met. - Tavistock Manor to the north east owned from Saxon times by the Abbey of Tavistock who leased the land to a succession of tenant gentry. The other on the north and west known as the Lay Manor as it never belonged to the Church. In 1086 Lay Manor was held by Radulph Paganel and the Exeter doomsday survey of this year places both Manors in "Willa / Wille".

c1155 with the advent of the third manor of Daccombe to the south east, a site for a church was chosen where all 3 manorial boundaries came together and in 1191 the name of the area is givenas Wille et Daccumbe. (Later Church records of 1193 name it Willa et Daggecumba and a deed of 1225 mentions de Welle de Dacum).

c 1230 the Coffyn family acquired Lay Manor and by 1282 the Manor was called Welle Coffyn.

A visitation of 1301 reported that the chapel had a good missal with musical notes, an old gradale, a good troparium and ordinale, a legenda and psalter, an old monastic antiphonale, a manuale and hymnale. A fairly good chalice, gilt inside. Two complete sets of vestments and two alb, nine altar cloths. a thurible, wooden chrismatory and a wooden pyx for the eucharist without a lock. Also 2 surplices and a rochet, a lenten veil. a processional cross, two cruets & 2 bells for the dead..

By 1326 it was clearly differentiated from the Tavistock Manor by is name of Coffinswille, and consisted of the village of Coffinswell and the hamlet of Daccombe.

The Norman font www.flickr.com/gp/52219527@N00/7iNSyHF4ZM survives from the original building of c 1159 which was an oblong thatched structure of stone or cob with a small south chapel to the east, with narrow unglazed Norman windows .

It now consists of a continuous nave & chancel (the waggon roof extending from the east end to the west), a north aisle divided from the nave by 4 arches supported on columns with carved capitals, a small transept, north porch, and west tower

The earliest part now is the 70ft red sandstone two stage tower, now dark roughcast, dating to c1220, its walls 2.0 metres thick and not quite square with the nave It has 6 bells; (two being of pre-Reformation date (Henry Vll) inscribed in Old English lettering:" Protege Virgo Pia quos Sancta Maria" (Protect us, Virgin Pious, Holy Mary;) ; two date from 1626 and 1637, and have the inscription: "Soli Deo detur gloria" (Glory is given to God alone;) ; the latter was recast in 1894 when a fifth bell was added with the inscription: Sit Deo gloria" (To God be the glory) .; the sixth bell was added in 1904.

Glass windows in the decorated style were inserted mid-14c when a small south transept was built . A three-light granite window in the south-west corner near the tower was added in the 15c

The north aisle erected late 15c with 14c style windows was also thatched and a broad trench around it caught the rain dropping off the thatch. The most westerly column dividing it from the nave has several coats of arms which refer to the Holbeame family and their connections (Scobahull, Leyton, and Gambon). This suggests that the aisle was erected by John Holbeame, a local gentleman who died in 1473.

The chancel altar was at St Mary church before 1855, one of the several copies made in wood of the high altar in Cologne cathedral. An older oak table altar with carved sides stood in the vestry but was removed in 1925 to the chapel of the retreat house at West Ogwell. The altar rails of oak are carved in the Gothic style. www.flickr.com/gp/52219527@N00/9t90prBH82

The vestry was built in 1820, blocking the west window of the north aisle. inside are preserved the old stocks, remarkable for the fact that the board with the holes for the feet is flat instead of upright, so that the prisoners would either have to stand in them, or sit in a very cramped position. The old parish chest with slits for coins and two iron clasps for double locking. is also kept here, and some pieces of lead with foot and hand marks on them. ( It is said at one time visitors to the roof used to amuse themselves by tracing the shape of their hands and feet on the lead covering, and when the rood was re-leaded these shapes were preserved). devonhistoricgraffiti.org.uk/coffinswell-st-bartholomew/

The vestry has recently been refurbished with the facilities of kitchenette and WC, allowing for concerts and communal events to take place here

A fine granite cross in the churchyard was found supporting a cattle shed in the village. www.flickr.com/gp/52219527@N00/7Upg0S0o53

The registers date: baptisms, 1560; marriages, 1560; burials, 1561.

Near the church is Court Barton, a manor house of partly 16c date; the southern part of which was used as a court house by Torre Abbey. There are many traditional cob and thatch cottages of which 29 are listed.

Picture with thanks - copyright historicengland.org.uk/listing/the-list/list-entry/1164557

IMG_6150iafss by Ky Lewis

2

Last year at Soundcamp, I was doing a cyanotype workshop as well as making odd pinhole shots of some of the visitors and developing them outside in dev tubes, talk about working blind. These are some of the shots I made between doing those activities, it was a gorgeous day on the peninsula at Rotherhithe near Stave Hill. The ecology park is very beautiful and you wouldn't think you were a stones throw from the city of London.

Developing Citizen Designers by Juhan Sonin

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developing seed 4 by Jessica Salter

Regency Square Mall by Royal Hurlbert

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The Rise

Regency Square Mall was originally developed in the mid-to-late 1960s. The project was initiated by Regency Centers, a now-powerful retail real estate trust based in Jacksonville that was at the time just getting started.

The mall was constructed at a cost of $12 million upon a giant clump of sand dunes, and opened its doors to the public in 1967. It featured three anchor stores – JC Penney, Furchgott’s, and May-Cohens – as well as an adjacent movie theater.

Regency quickly became a hit, owing a lot of its success to its location. At the time the Arlington area was among Jacksonville’s fastest-growing neighborhoods, and Regency Square Mall was by far the closest retail hub for its residents as well as shoppers coming into town from the beaches. It also helped that the mall was built in an era where shopping malls were quickly becoming a ubiquitous part of life in America.

The surrounding area experienced a development boom, with shopping centers, car dealers, office parks, and restaurants popping up all along neighboring stretches of Atlantic Blvd. Some of this was a result of continued growth in Arlington, but much was the direct result of traffic brought in by Regency’s success.

By the late ’70s, Regency was one of the country’s most active malls, and completely dominated the Jacksonville shopping landscape. The only “nearby” mall that could claim to compete with Regency’s offerings at the time, Orange Park Mall, was over 24 miles away.

Naturally, the mall’s ownership wanted to capitalize on this success, so around this time plans were developed to double the size of the mall at a cost of around $30 million.

Bizarrely, developers opted to tack on the additional space to the opposite side of May-Cohens, creating two wings divided by an anchor store. Ivey’s and Sears became the anchors of the newly-opened west wing.

Shortly thereafter, the east wing would get upgrades in the form of an AMC theater and a large food court.

All the while, business continued to boom at Regency Square, perhaps more so than ever.

The Fall

There’s an old proverb based on a Bible passage that states, “Pride comes before a fall.”

In the mid ’80s, Furchgott’s announced their merger with Stein Mart. While most of the chain’s stores were converted to the Stein Mart branding, Regency’s operators proudly believed the brand to be too low-class for their mall and opted to pursue a replacement anchor.

At the turn of the decade, Regency faced stiff new competition in the form of The Avenues. This new two-story mall, constructed along the intersection of Philips Highway and Southside Blvd., offered a slightly more upscale shopping experience and threatened to lure customers from the then-thriving Baymeadows area away from Regency.

Around this same time, cracks began to show in the foundation at Regency. The mall changed ownership, being sold off to Chicago-based General Growth Properties.

A couple of anchor stores began a decade-long game of musical chair. Dillard’s moved to yet another new wing, vacating the former Ivey’s, which would then become a Montgomery Ward. May-Cohens would become a Gayfer’s, then later a Belk.

Most significant, however, was the rapidly-growing issue of crime. By the early ’90s, yearly crime reports at the mall reached quadruple digits. Over the following decade, the mall rapidly developed a reputation among locals as “the sketchy mall”.

The mall’s management made attempts to fix their reputation, but for the most part the damage had been done. The addition of a JSO substation in 1998 did little to curb the crime epidemic, and the addition of an aggressively-enforced mall dress code the next year only served to alienate its remaining customers.

It seemed clear that despite the mall’s shortcomings, its management felt as though it was still an elite retail hub. In other words, they let pride take the place of rationality.

Another round of renovations in the late ’90s brought an upgraded food court and theater. When Montgomery Ward left in 2001, management pursued big-name anchors rather than simply looking to fill the vacated spot. As a result, Ward’s spot stayed empty for five years.

In 2005, the opening of the St. Johns Town Center made Regency’s survival even less likely. The Town Center now catered to the upscale crowd, with The Avenues’ savvy management team rolling out renovations around the same time to keep up appearances.

Meanwhile, Regency’s crime rate grew worse and vacancies began piling up within its corridors.

By the late 2000s, it was clear that the mall was dying. Crimes at Regency outpaced those at The Avenues and St. Johns Town Center combined.

The mall’s west wing became a ghost town. Dillard’s converted their location to a clearance center. A shooting in 2008 involving an off-duty JSO officer only served to further solidify the mall’s reputation as a bad place. Many locals refused to shop at the mall by themselves, or after dark.

By 2014, the mall’s occupancy rate slipped well under 50%. Belk, which occupied the anchor space that separated the east and west wings, announced that they planned to bolt to a standalone store further down Atlantic Blvd. General Growth Properties, finally accepting that they wouldn’t be the ones to save the mall, put it up for sale in 2013, and got rid of it just a year later.

When new ownership took over, they opted to close down the west wing and move any remaining tenants over to the east wing in hopes of saving at least one part of the mall.

Fairchild PT-19A "Cornell" by mark6mauno

Fairchild developed the PT-19 in 1938 to satisfy a military requirement for a rugged monoplane primary trainer, and it went into quantity production in 1940. In addition to those manufactured by Fairchild, the Aeronca, Howard and St. Louis Aircraft Corps. produced Cornells. Fleet Aircraft Ltd. produced them in Canada.

From the basic PT-19, Fairchild produced two more aircraft: the Continental radial engine powered PT-23 and the PT-26 with an enclosed cockpit. Altogether the U.S. Army Air Forces accepted 7,742 Cornells, of which 4,889 were PT-19s. Additional Cornells went to Canada, Norway, Brazil, Ecuador and Chile.

Mr. Howard Phillips of Seattle, Wash., donated the PT-19A on display at the museum in November 1984.

TECHNICAL NOTES:

Engine: Ranger L-440 of 175 hp

Maximum speed: 124 mph

Cruising speed: 106 mph

Range: 480 miles

Ceiling: 16,000 ft.

Span: 35 ft. 11 3/16 in.

Length: 27 ft. 8 3/8 in.

Height: 7 ft. 9 in.

Weight: 2,450 lbs. loaded

www.nationalmuseum.af.mil/factsheets/factsheet.asp?id=351

- - - - -

A Flight Training Mishap

This exhibit demonstrates what could happen to a cadet pilot when taxiing with the wind from behind and applying his brakes too hard. The wind would life the tail, and the nose would hit the ground. Such an accident resulted in at least a stern lecture from the instructor and possibly the student's dismissal from the school. On average during the WW II, 40 percent of the cadet pilots did not graduate from flying school.

Leica M-A & Tmax 400 by Brett Price

6

developed in Xtol (stock)

Developing by Elizabeth Brown

digital photograph

April 2011

NHS by Paul Bennett

1

Home Developed

HP5+ Ilfotech DDX 15 mins at 20 c, Scanned with Pentax DSLR

1997 Rover 800 by Ruairidh MacVeigh

3 1

Developed originally by British Leyland in order to claw back a hold on the American market, the Rover Sterling/800 range was to become the company's top of the range model, replacing the 10 year old Rover SD1.

The Sterling is similar in many ways to the Honda Legend, but was not the first BL car to use a Japanese model as a spiritual template, being preceded by the Triumph Acclaim and the Rover 200.

The original styling of the Sterling was based largely on that of the SD1 with the sweeping light clusters that were curved around the front of the body. This was later revised with the inclusion of a grille as seen on this example here.

In total, 371,000 Sterling/800's were built, an estimated 33,000 being sold in the United States as simply the 'Sterling'.

The cars sadly were not a major success in the United States, and were pulled out of the market in 1991, but the Sterling/800 in Europe remained highly popular and continued in production until the introduction of the Rover 75 in 1998.

Today there are still plenty of Sterlings and 800's to be found on the roads of Britain, and even in the United States the Sterling derivatives have garnered a cult following due to their obscure nature, and that they were the last truly British cars to be sold in the USA outside of companies under foreign ownership such as Jaguar, Rolls Royce and Bentley.

something new developing by marchi wierson

3

Wool, felted

Egg Shell with Tracery by Philip Chapman-Bell

1

From a circle of unryu/freezer paper laminate.

Crease pattern available.

The Incredible Art Work (9) by Balaji Web World Web Site Design Service

1

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We have built a strong reputation as a – Web Design and Development India by consistently building Web pages and producing sites that are good looking, technically excellent and affordable for small businesses and individuals.

Our advanced SEO India skills and the tools what our technicians use, enable our clients to generate new business, at affordable cost. We never tried to get high rankings in one or two of the search engines for our clients, but always provided high rankings in most of the search engines round the globe. We provide the service for multiple search engines

Balaji Web world with the base at India is a professional Website Design Company. Our Web Designers focus on quality features of Web Design, Email Marketing and Multimedia Presentation. Company confers services such as Logo Designing and Search Engine Optimization (SEO) in order to enhance the overall look of the Brand.

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IMG_7971 by Tomi Liukkonen

Developed using darktable 3.8.1

Regenerating poster? by StripeyAnne

3 19

I had a double take at the traffic lights. Wow, how DID they get the tree to grow out of the poster?Or was it the other way.....Here's the cropped version

This part of Leeds, England, is run-down and is being re-developed (something called the Leeds Initiative). The land behind the poster had been a block of unsightly flats.

Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã by Philipp Geist

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

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

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www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

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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

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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