View allAll Photos Tagged dislocation
Since the physio last week when I discovered I had been trotting around with a dislocated ankle, its been quite sore still.
On a followup visit today, we discovered it had re-dislocated in the other direction (it's a thing called a "cuboid" bone and apparently it is VERY rare for it to do this).
So, we had the fun of putting it back in (again) - won't tell you what i said inside my head....and it wasn't "ouch".
Then more ultrasound and acupuncture followed by yet more strapping.
So, what does one do when one is required to lay still for 10 mins with needles hanging out of ones leg? Well, take pictures with ones mobile of course!
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.
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: Kettle 2
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.
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.
Since the physio last week when I discovered I had been trotting around with a dislocated ankle, its been quite sore still.
On a followup visit today, we discovered it had re-dislocated in the other direction (it's a thing called a "cuboid" bone and apparently it is VERY rare for it to do this).
So, we had the fun of putting it back in (again) - won't tell you what i said inside my head....and it wasn't "ouch".
Then more ultrasound and acupuncture followed by yet more strapping.
So, what does one do when one is required to lay still for 10 mins with needles hanging out of ones leg? Well, take pictures with ones mobile of course!
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.
'Post Pop: East Meets West', Saatchi Gallery, London
Post Pop: East Meets West
26 November 2014 - 23 February 2015
'The exhibition brings together 250 works by 110 artists from China, the Former Soviet Union, Taiwan, the UK and the USA in a comprehensive survey celebrating Pop Art's legacy. Post Pop: East Meets West examines why of all the twentieth century's art movements, Pop Art has had such a powerful influence over artists from world regions that have had very different and sometimes opposing ideologies.
The exhibition celebrates the art being produced in these four distinct regions since the heyday of Pop, and presents them in relation to each other through the framework of six themes: Habitat; Advertising and Consumerism; Celebrity and Mass Media; Art History; Religion and Ideology; Sex and the Body.
Widely regarded as the most significant art movement of the last century, Pop Art exploited identifiable imagery from mass media and everyday life to reflect on the nature of the world we live in. This exhibition examines the relationship between western Pop Art and its lesser-known eastern counterparts including "Sots Art" in the Soviet Union and "Political-Pop" or "Cynical Realism", which has flourished in Greater China since the turn of the twenty-first century.
Using humour and a vernacular language, and borrowing freely from popular culture, Pop Art gave subsequent generations of artists the licence to exploit popular visual imagery and to connect with the public through the familiarity of the images being referenced. In the Former Soviet Union the abundance of imagery comparable to mass produced commodities and advertising in the West was propaganda images and text, and in Greater China visual iconography of Socialist Realism.
Although from fundamentally different cultures and ideological backgrounds, the artists in this exhibition play with imagery from commercial advertising, propaganda posters, pictures of the famous as well as monetary and patriotic motifs in wry and provocative works that unmistakably reference the Pop Art movement which emerged in America and Britain in the 1950s and 1960s. In the Soviet Union region these works draw attention to state control, conformity, ceremony, pomp and the façade of unanimity amongst the people; in America and the UK they serve as a critique of commodity fetishism, the cult of celebrity and our mass-produced, status-driven man-made world; and in Greater China as commentary on the social dislocation created by a new super power's fascination with wealth and luxury following a period of extreme austerity. '
- from the Saatchi Gallery website
photographer: Dave Ormerod
model: Eleanor Cooper
dress: Julien MacDonald
headdress: Velvet Eccentric by Della Reed
shoes: From stylist’s studio
stylist: Minna Attala
hair: Doubravka Marcinkova
makeup: Erin Kristensen
stylist’s assistant: Claudia Walder
Two beam image of Dislocation lines in nano-structured twins after compressing.
Courtesy of Qiuhong Lu
Image Details
Instrument used: Titan Family
Zurich Bahnhofstrasse and Paradeplatz (home to the Swiss banks Credit Suisse and UBS and several Zurich prime shops) remain a no-go-area for participants of the official labour day rally at Bürkiplatz (the far end of Bahnhofstrasse, at lake Zurich).
Zurich metro police blocks all passages to Bahnhofstrasse and Paradeplatz. Phalanx like single and double rows of officers in riot gear span across the streets. Facing Bürkliplatz, a mobile water cannon is in position on Bahnhofstrasse.
Zurich May Day, 2010
at this square captives where hung by the wrists in the strappado way. this means dislocation of the shoulders by the weight of the body. other prisoners where shot against the wall in the back.
A stumble and reflexive attempt to stop my fall led to a surprisingly low-pain dislocation of one finger.
Go to Page with image in the Internet Archive
Title: A treatise on dislocations and on fractures of the joints [electronic resource]
Creator: Cooper, Astley, Sir, 1768-1841
Creator: Carrie, Amcotts, active 19th cent? former owner
Creator: Hughes, Ernest Crammer, 1878-1950 former owner
Creator: Townsend, Edward Richard, -1897 former owner
Creator: Pitts, Mr. active 19th century former owner
Creator: Smith, James, active 19th century former owner
Creator: Guy's Hospital Medical School former owner
Creator: St. Thomas's Hospital. Medical School Library former owner
Creator: Webb Street School of Anatomy and Medicine, former owner
Creator: King's College London
Publisher: London : Longman, Rees, Orme, Brown, and Green,...S. Highley,...T. & G. Underwood,...Burgess and Hill,...& Cox & Son
Sponsor: Jisc and Wellcome Library
Contributor: King's College London, Foyle Special Collections Library
Date: 1826
Language: eng
Description: Spine title on copy of this work from the library of St. Thomas's Hospital Medical School:"Cooper on dislocations & fractures"
Printed marginalia
First published in 1822
This material has been provided by King’s College London. The original may be consulted at King’s College London
King’s College London
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.
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the atomic line defects known as dislocations can be seen in everyday life such as in corn on the cob. notice that the rows of corn kernels deviates into crooked lines in the middle left part of the image...
Photo Description: Dislocations in a sample of Austenitic Stainless Steel below an ion irradiated layer
Image taken by: Dhriti Bhattacharyya, Australian Nuclear Sci & Tech Organization
Hello !
Collymore is playing Hide And Seek with his bestest imaginary friend, Nobby, when suddenly his deep and abiding love for his friend causes Nobby to take physical form. Of course, it was unwise to play such a game so close to the Beam Me Up Scotty machine which, although it is switched off, has strange powers that work their wonders as they will, as it were.
"Eeee !" cries Nobby "I am a robot like creature and I feel unfamiliar urges..."
"Blimey !" says Collymore, he is surprised.
"Yes, I feel that I should worship you, Collymore, as my gawwd, yet also that I should adopt a stance of strict philosophical materialism (I distance myself immediately from Cameron and his Oids) which would make the former impossible...it is a dilemma ! Guide me !"
"Oh, er, yes !" says Collymore "I am a reformed love-rat and not worthy of worship..."
"Phew ! My circuits sense that my incipient emotions are relieved by your humbletiness and I think that all will be well, in time..."
Oh, how beautiful ! I see that a lasting friendship will be formed and once again the Beam Me Up Scotty Machine has made the world that little bit less naff, isn't that good ? It is, yes.
Walk Tall !
Dislocations in nanocrystalline yttria after Spark Plasma Sintering
Courtesy of Rachel Marder
Image Details
Instrument used: Tecnai Family
Magnification: 19500
Voltage: 200
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