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The picture you’re seeing it’s the Pendulum or it could be called the pulley or strappado in which it was the first torture of the Inquisition usually applied. Executioners would hoist the victim up to the ceiling using a rope with their hands tied securely behind their back. They were then suspended about six feet from the floor. In this position, heavy iron weights, usually amounting to about 45 kg, were attached to their feet. The executioners would then pull on the rope, then suddenly allowing it to slack causing the victim to fall. The rapid descent would then come to an abrupt stop, bewildering every joint and nerve in the system. In most cases it entailed dislocation. This process was repeated again and again heavier and more intense until the culprit confessed or became unconscious. Christian Monks would stand by to record any confessions, with even records today displaying the transformation of the monks steady handwriting to vigorous shaking after they recanted inside the dungeons. If a relapsed heretic refused to recant and endure the torture, the contumacious sufferer was then carried to the scaffold and his body bound to a wooden cross. There the executioner, with a bar of iron, would break each leg and arm in two places and left to die. If the heretic was slow to expire, the executioner would then partake to strangulation, and their body was bound to a stake and burnt outside.
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
Semi-willing audience volunteer on instruction assists in the dislocation of escapologist Chris Cross' right shoulder
so i'm getting hoisted over a 5' church wall with help from 2 guys. i say "I'm not ready!" and they start shoving my butt cheeks over. my finger got twisted under me, i say "STOP!" and they say "Shut up and get yer ass over the damn wall!" i look down and my finger is making a right turn at the knuckle. i had to grab it and pull it straight myself before i fainted. the drink i had after that was strictly medicinal (the party was on the other side of the wall, and me too lazy to walk all the way around).
James Cauty's 1:87 scale distopian vision housed in a 40' shipping container, currently on tour across the UK. Seen in Exeter as part of Art Week.
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
SUMO Project participated in The Gladstone Hotel’s Come Up To My Room 2013 with a piece entitled ‘In all falsehood’.
‘In all falsehood’, challenges our perception of space but also the perception of ourselves in an unknown context. By creating an apparent interior and confined space that feels outer and infinite, the viewer will be confronted with a sense of dislocation and isolation. Evoking feelings of socio-cultural displacements such as alienation, anxiety, and paranoia mixed with the excitement of experiencing something unknown.
‘In all falsehood’ was the winner of a Juror’s Choice Award from the Toronto Design Offsite Festival 2013 presented by Herman Miller.
Photographs: SUMO Project
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
(for further information or pictures please go to the end of page and use the link!)
K.u.k. Military Geographical Institute
The k.u.k. Military Geographical Institute was an institution of the army of Austria-Hungary with its headquarters in Vienna. It was created on 7 January 1839 from the merger of the IR Military Geographic Institute and the Topographic-lithographic institute of kk Quartermaster General Staff and had its headquarters at the Friedrich-Schmidt-Platz 3 Vienna (at the two line (Tramway 2) behind the town hall, the roof of the building to this day adorns a giant globe).
Corporal of the Military Geographical Institute in Ausgangsadjustierung (dress uniform) without sidearm
History
The Institute emerged from similar establishment, which had been set up in Northern Italy under Napoleon. In 1800, a War Department of the Cisalpine Republic was created in Milan. This had to collect map data, 1802 was also established a Militärtopographen Corps (Corpo degl'Ingegneri Geography - Military Topographers), which was entrusted with the triangulation and the land survey. These institutions persisted in the later Austrian Kingdom of Lombardy-Venetia: Emperor Franz I of Austria authorized by Handschreiben (letter in the Monarch's own hand) of 1 September 1814 the "interim Beybehaltung (maintenance) of the (military) Bureau topographique in Milan". The further development was influenced by the plans to create a general register of real-estate of the monarchy: the "Stable Cadastre", which was also known as Francis II land (Franziszeischer Kataster). As founding day is the 5th January 1818 assumed, that day was issued the imperial "resolution", in fact, to keep the Institute in Milan for the time being, but to move staff and work to the topographical bureau in Vienna and not to assign the Milan Institute any new work.
On 25 February 1839, most employees (military) from Milan had agreed with the dislocation in the capital of the monarchy, to Vienna. Excluded were only a few employees who retired because of age or health reasons, or could be put to other public services. With the public auction of remaining items that had not been taken to Vienna and otherwise not seemed usable any longer, ended on 21 November 1839 the history of the institute in Milan.
Till 1888 the name was, since 1868 contrary to the system, "kk Military Geographical Institute", only in 1889 was on Hungarian pressure for the army and its institutes the attachment "kuk" introduced as an indication pointing out that since the Compromise with Hungary of 1867 these were common institutions of both countries Austria-Hungary. It belonged in the field of competences of the Chief of General Staff and was from 1913 on directly subordinated to the Ministry of War.
Former Military Geographical Institute
Older archive documents were already destroyed before the First World War, documents of a later period, too, are not fully available anymore. More detailed information on the history of MGI are only in the collections of the Imperial War Council and the Quartermaster General Staff contained, which are located in the State Archives/Military Archives whereas the working documents (Operate) of the triangulations and the library are largely preserved. Also remained have the archive of the land survey, the map collection, the documents of the First and Second land survey being kept in the Austrian State Archives. Of the sheets of the third land survey had to be passed on to the successor states of the monarchy by the State Treaty of St. Germain those documents (map sheets, plates, etc.) in which was at least half of the area shown. Of these sheets, however, black and white copies are available.
The high quality of the in a short time available maps from the MGI was unprecedented, caused international sensation and brought the Military Geographical Institute a number of accolades. The staff of the MGI worked also outside the borders of the monarchy. So 1828 a Staff Captain got the order to create a sketch (Croquis) of the road from Belgrade to Constantinople, which thereupon was used in the elaboration of the new map of European Turkey. Correspondingly, relevant headhunting attempts were not missing: so one of the most well-known members of the MGI and head of the cartographic work, Joseph Ritter von Scheda, was asked three times," to enter the Russian service under the most brilliant conditions".
The recognition the cartographic survey of the then Turkish territory in southeastern Europe had got, led the Greek government as well to ask for assistance in surveying of its territory. Then a geodesic mission was formed, from 1889 in Greece working and training local staff. The recording of Greece was completed in 1896.
The MGI was in addition to its expertise in land surveying also a leader in matters of land map printing, the technical developments in lithography and engraving were attentively followed, applied and refined. 1846 at the MGI the electroforming was introduced: With this technique, from newly etched engraved copper plates for the time being a duplicate was generated, from that copy also multiple printing plates could be created. This procedure facilitated the production of large print runs of map sheets of consistent quality yet before the introduction of photomechanical gravure printing in 1869. Since 1876 were used lithographic quick presses, later aluminum printing plates. 1873 the production of new maps was changed from copper engraving to photogravure, the results were presented at the World Exhibition in Vienna. The advances in the printing technology and its use in MGI secured the card works wide distribution. The maps from the MGI, which were released for public dissemination were distributed by the art dealer Artaria in Vienna.
Task
The "organic regulations for the KuK Military Geographical Institute" contain following description:
"The military-geographic institute has got to produce the for the Army necessary cards. For this purpose is required: the geodetic surveying, Mappierung (mapping), the drawing and holding of evidence of the cards, finally, the reproduction and duplication of the same. For private persons relevant work could be procured, when official business conditions allow.
The commander ... is responsible for ensuring that the Institute could always meet as perfectly as possible the cartographic Befürfnissen (needs) of the army.
In particular, the group leaders have always to get in touch with the other parts of the institute and initiatively to promote works that are not assigned to them. They should check emerging innovations and make them usable for the Institute".
The field of competence of the MGI included the entire Austro-Hungarian monarchy. We are dealing here (after the loss of northern Italy and the gain of Bosnia and Herzegovina ) with an area of approximately 677,000 km², encompassing all of Central Europe topographic forms from steppe lands in Galicia up to the high mountain regions of the Alps.
In addition the MGI had to deal with the tasks of geodesy to keep the maps technically, too, geodetically up to date.
The MGI from 1881-1913 edited an own journal: The "Communications of the Imperial Royal (since 1889 Imperial and Royal) Military Geographical Institute. Published by order of the k (and) k Imperial War Ministry " - MMI. There can also be found works on the Institute in Milan.
Organization
Commander of the Institute was an officer in the rank of general. It consisted of five groups:
Astronomic-geodetic group
Mapping group
Topographic group
Technical Group
Management group
The staff consisted of field officers and chief officers, officials and technical assistants. The officers were organized in a technical and operational branch and assigned to the corresponding groups.
The technical officials bore the following titles:
Executive First Class (rank of Lieutenant Colonel)
Executive Second Class (rank of major)
Technical Offizial First Class (rank of Captain)
Technical Offizial Second Class (rank of Captain)
Technical Offizial Third Class (rank of Lieutenant)
Technical assistant (rank Lieutenant)
Plant managing officials:
Upper foreman First Class (rank of Captain)
Upper foreman Second Class (rank of Captain)
Foreman (rank of Lieutenant)
Foreman assistant (rank of Lieutenant)
The technical support staff consisted of foremen and technical assistants. The non-commissioned officers and other ranks came from the troops and bore regardless of their respective unit the following military rank labels: sergeant - accounting non-commissioned officer - commander - corporal - private first class - institute soldier (possibly private).
The MGI possessed two buildings: The "A-building" (main building) at the Landesgerichtsstraße was completed in 1842 and 1870/71 increased, the "B-building" with the cartographic service of the land survey in the Krotenthallergasse in Vienna-Josefstadt (8th district) was completed in 1905 ("new B-building"). This building was the successor of the "old B-building" which situated at the same location on the site of the former Josefstädterstraße cavalry barracks, which had been rebuilt in 1759 by Johann Thomas Trattner for his printery. Since 1875 was inside of it the "press department" of the Military Geographical Institute.
Uniform
Neither the technical nor the plant managing officials wore a portepee. Their military uniform was based on the artillery ordnance officials. They wore dark green tunics with black velvet collars and cuffs and a scarlet Passepoilierung (in sewing, piping). The blouse was also provided with green and black velvet, rotpassepoilierten Parolis (colored collar patch). With the technical officials the tunic was equipped with white, smooth buttons, with the plant managing officials, the buttons were smooth and yellow.
Team tunic
The non-commissioned officers and other ranks wore the Infanterietschako (infantry cap) to the dark green tunic, or pike-gray field cap to the pike-gray blouse. The tunic was equipped with a set of six yellow smooth buttons, scarlet collar, epaulettes and cuffs. Pantaloons and coats were made of pike-gray cloth, also with scarlet Parolis but without Passepoils. Non-commissioned officers up to inclusively corporal carried the infantry officer saber, plus the Kavallerieportepee (cavalry portepee). Corporals and institute soldiers wore the infantry saber.
Subsequent use
In Austria, the agendas of the MGI went after the First World War - in a long-winded process, lasting from 1 August 1919 until 25 February 1921 - over to the Federal Surveying Office and the Cartographic Institute (in the Krotenthallergasse 3), from the latter the Geodesy and Topography on 21 September 1923 in the Federal Office of Metrology and Surveying (BAfEuV, from 1982 BEV) being incorporated.
The map production lived as "Cartographic, formerly Military Geographical Institute" on, it was to run as a commercial state-owned enterprise. This institute was in 1938 with the BAfEuV (with elimination of the verification system - Eichwesen) merged into the "main surveying department XIV". 1945, it was reorganized as part of the BAfEuV with the name "Federal Office of Metrology and Surveying (Land Record)".
The abbreviation MGI also became the name of the calculated geodetic datum of this institute.
The sonorous name of this venerable institution provided the idea for the denomination of today's relevant military institution of the armed forces, of the Institute for Military Geowesen (IMG).
de.wikipedia.org/wiki/K.u.k._Milit%C3%A4rgeographisches_I...
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
Some lovely x-rays of my dislocated shoulder - before and after getting fixed.
I wouldn't recommend going to these lengths to get "body" pictures!
James Cauty's 1:87 scale distopian vision housed in a 40' shipping container, currently on tour across the UK. Seen in Exeter as part of Art Week.
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
Riot in a jam jar: Greenpeace Armageddon Factoid Riot
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
a sport often over looked, often regarded as easy. a sport i dedicate my time and affection to because i love it. I know the skills it takes to perform a dive, i know the hard work, dedication and pain one must go through to achieve your diving goals. i know the risk of injury i have every time i step on that board but i will never stop cause that moment when you get a dive right, when you do it well, that moment lifts your heart and makes you feel extatic because the feeling of accomplishment and sucess overwhelms you. that feeling is worth all the bruises, splats, even dislocations. so nomatter how many times my friends tell me that im just jumping into a pool in a fancy way and that i dislocated my shoulder fallin in a pool or that they could easily do what i do, i brish it off because i understand and know the sport in a way they never will.
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
Go to Page 216 in the Internet Archive
Title: I. The mechanism of dislocations and fracture of the hip : II. Litholapaxy, or, Rapid lithotrity with evacuation
Creator: Bigelow, Henry Jacob, 1818-1890
Publisher: Boston : Little, Brown, and Company
Sponsor: Open Knowledge Commons and Harvard Medical School
Contributor: Francis A. Countway Library of Medicine
Date: 1900
Language: eng
Includes bibliographical references and index
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
Go to Page 211 in the Internet Archive
Title: I. The mechanism of dislocations and fracture of the hip : II. Litholapaxy, or, Rapid lithotrity with evacuation
Creator: Bigelow, Henry Jacob, 1818-1890
Publisher: Boston : Little, Brown, and Company
Sponsor: Open Knowledge Commons and Harvard Medical School
Contributor: Francis A. Countway Library of Medicine
Date: 1900
Language: eng
Includes bibliographical references and index
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.
James Cauty – The Aftermath Dislocation Principle Part V
Fonteijne, Vlissingen 2014
“The Aftermath Dislocation Principle Part V” van James Cauty ziet eruit als een verwoest, verlaten, vernietigd en verbrand landschap. In de overblijfselen zijn 5.000 politiemannen achtergebleven. Iedereen is opgepakt en weggevoerd, waarschijnlijk niet zonder slag of stoot. De politie heeft niemand meer om in de gaten te houden, op te pakken of te controleren. De ultieme politiestaat?
James Cauty's roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, very often sampling it and sending/selling it back as recoded realities. In billboard and stamp projects Mickey Mouse was sent to Iraq in 'Operation Magic Kingdom' whilst Julie Andrews danced across vast rubbish heaps, crushed cars were sold to second hand car dealers as art and riots have been rendered as tiny models in jam jars.
His most recent work has been focussed on the making of 1:87 riotous scale models as small world re-enactments, often displayed in upturned jam jars as A Riot in A Jam Jar. His new exhibition The Aftermath Dislocation Principle continues this preoccupation with small world re-enactments as a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been desolated, deserted, destroyed, burnt and is devoid of life apart from 5000 or so model police that attend this apocalyptic aftermath; a kind of bizarre twisted model village experience, where Cauty continues his fascination with subversion, consumerism and entertainment through creative exploration and dark humour.