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Error 404 page - POP do seu lado
Client: Portal POP
Visual Concept and Creation Designer: Tiago de Andrade
Responsable Designer: Márcio Nantes
Agency: Redirect Digital Marketing
See entire project: www.behance.net/gallery/404-Errors-POP/3634453
Con solo una mirada es el primer single de Ensayo y error, el álbum debut en solitario de Georgina (ex-Tisuby & Georgina), que se pondrá a la venta el próximo 1 de septiembre.
Según la cantante el álbum "sorprenderá a más de uno, con temas de un pop contundente, que oscila entre el desamor y la alegría, de todo un poco pero siempre desde un prisma positivo".
Un álbum producido por Pablo Cebrián e Ismael Guijarro. El primero componente de Fábula (¡cuanto les echamos de menos!), y el segundo amigo, mánager y productor del proyecto que Cebrián compartían con Iván Mur.
Sorry, but this site has gone all
500 Application Error on you. Something's wrong with the server, most likely. Please email John, the slack bastard who built this. Feel free to give him a piece of your mind.
37 signals is the nicest and best at copy and usability. I actually just found their defensive design book that I've had for a long time, but hadn't actually seen any of their error messages. In their defense, it was me who broke it by clicking back and forward too much - but at least it didn't lose any unsaved work.
Director: Melissa Rain Anderson
Photo by Dan Norman
Cast:
Caroline Amos, Benjamin Boucvalt, Andrew Carlson, Michael Fitzpatrick, Tarah Flanagan, Christopher Gerson, Alex Givens, Maya Jackson, Stephanie Lambourn, Katie LeSuer, Melissa Maxwell, Duncan McIntyre, Chris Mixon, Christopher Peltier, Silas Sellnow, Jason Michael Spelbring, James Queen
Set Designer: R. Eric Stone;
Costume Designer: Devon Painter;
Lighting Designer: Lonnie Alcaraz;
Sound Designer: Katharine Horowitz;
Choreographer: Katie LeSuer;
Properties: Connor McEvoy;
Stage Manager: Daniel Munson;
Text Coach: Jess Shoemaker;
Production Manager: Joseph Millett
November 10, 2018 at 2:00pm- 3:30pm at Centrespace Gallery, VRC
Taking this idea as a starting point, we would like you to interpret this principle
Sustain your errors, is a series of workshops and events re-interpreting a set of ideas by artist and musician David Cunningham first used for his 1976 album Grey Scale.
In an introduction to the project taking place during NEoN, writer Cicely Farrer invites artist Katie Hare to together explore the ‘error system’ in the algorithmic age, through dialogue, sound, projection and human movement, extending Cunningham’s album in a new performative encounter.
Katie Hare is an artist whose work examines the effects of the increasing rapidity of technological progress, particularly with regards to memory and obsolescence and the way narrative and storytelling is shifting as a result of this development.
Introduction to David Cunningham’s Error System
David Cunningham’s art work evades visual description as it is mostly real-time sound based and site specific. His installations and performances are experienced across sound, music, light, movement and the architectures of space. He frequently uses a systems approach. This systems approach could be through a sound loop, overlapping cycles, a set of instructions, collaborative conditions or the space the work inhabits.
Sustain your errors draws on an early work of David’s, Grey Scale, for which he set up scores/instructions in the production of his sound work in the late 70s. In its original form, Grey Scale is an album that was originally released as a vinyl record in a grey card sleeve in 1976. The album features tracks which are played across a range of instruments, percussion, tape recorders, synthesisers and water.
The project is based on conversations between Cicely Farrer and David Cunningham around ways of interpreting the scores and their guiding principles. Cicely has received mentorship from artist Pernille Spence.
Supported by the National Lottery through Creative Scotland.
Image Credit: Kathryn Rattray Photography
The error is in the last paragraph, which refers to the Mets' retired numbers being located "on the outfield wall." This was correct at the time the sign was made, but the retired numbers have since been moved to the roof in the left field corner.
Seminar about Waste awareness and creative solutions organised by Lausitzer Wege and Kulturlabor Trial and Error at Lauchhammer 2012
November 10, 2018 at 2:00pm- 3:30pm at Centrespace Gallery, VRC
Taking this idea as a starting point, we would like you to interpret this principle
Sustain your errors, is a series of workshops and events re-interpreting a set of ideas by artist and musician David Cunningham first used for his 1976 album Grey Scale.
In an introduction to the project taking place during NEoN, writer Cicely Farrer invites artist Katie Hare to together explore the ‘error system’ in the algorithmic age, through dialogue, sound, projection and human movement, extending Cunningham’s album in a new performative encounter.
Katie Hare is an artist whose work examines the effects of the increasing rapidity of technological progress, particularly with regards to memory and obsolescence and the way narrative and storytelling is shifting as a result of this development.
Introduction to David Cunningham’s Error System
David Cunningham’s art work evades visual description as it is mostly real-time sound based and site specific. His installations and performances are experienced across sound, music, light, movement and the architectures of space. He frequently uses a systems approach. This systems approach could be through a sound loop, overlapping cycles, a set of instructions, collaborative conditions or the space the work inhabits.
Sustain your errors draws on an early work of David’s, Grey Scale, for which he set up scores/instructions in the production of his sound work in the late 70s. In its original form, Grey Scale is an album that was originally released as a vinyl record in a grey card sleeve in 1976. The album features tracks which are played across a range of instruments, percussion, tape recorders, synthesisers and water.
The project is based on conversations between Cicely Farrer and David Cunningham around ways of interpreting the scores and their guiding principles. Cicely has received mentorship from artist Pernille Spence.
Supported by the National Lottery through Creative Scotland.
Image Credit: Kathryn Rattray Photography
Recent research by the Airfield Research group has revealed that building was nicknamed "Dragon Mountain" by base personnel, Not the often quoted "Magic Mountain" . The first reference to Magic Mountain is in the research notes for the listing of the Building and is in error. The Dragon Mountain name makes more sense as the U2/TR-1 aircraft are nicknamed "The Dragon Lady" and personnel with the 17th RW called themselves "Dragon Keepers"
"The Avionics building, constructed c. 1989 by US Air Force, is a two storey, partly sunken reinforced concrete bunker, rectangular in plan. The building accommodates a drive-through access roadway and is capped with a rough concrete buster cap designed to absorb the impact of a missile before penetrating the bunker's roof.
INTERIOR: The purpose of the avionics building was to service the electronic components of reconnaissance aircraft and process the data retrieved. The interior of the building housed life support systems, stainless steel decontamination rooms, electronics workshops, photographic dark rooms, handling and storage areas. It is protected internally by subterranean 'portcullis' type blast doors on a hydraulic release mechanism. By the main doors are a suite of decontamination rooms and male and female toilets. An internal vehicular decontamination facility is also present. Large rooms on the lower floor housed the computers (now removed) where the data was downloaded and analysed. One of these rooms has a painted motto 'Aircrews live by the knowledge, skill, awareness and integrity of their maintenance people' over the door. A unique feature is the system for maintaining air pressure in the case of attack, by the use of compressed air cylinders on the lower floor, still present. All fixtures and fittings apart from the air cylinders and generators, floor surfaces, wall panelling and doors have been removed.
HISTORY: Land for an airfield at Alconbury was first acquired in 1938 as a satellite landing ground for RAF Upwood and when war broke out, the base was used by Blenheims from RAF Wyton. As part of the US 8th Air Force, it fulfilled a variety of roles until being handed back to the RAF in November 1945. In June 1953, the base was reactivated for the US 3rd Air Force and from 1959, Alconbury assumed its principal Cold War role as the home to various reconnaissance squadrons. In 1983, U2/TR-1 spy planes were permanently based at Alconbury, resulting in the construction of a number of hardened structures including the Avionics building and a number of Hardened Aircraft Shelters which have group value. Following the cessation of the Cold War, flying ceased in March 1995 and the base was released for disposal.
SOURCES. RCHME/English Heritage 'MPP Cold War Survey' 1999. Cocroft, W.D and Thomas, R.J.C 'Cold War, Building for Nuclear Confrontation 1946-1989', English Heritage, 2003.
SUMMARY OF IMPORTANCE: The hardened Avionics building at Alconbury airfield was constructed by the US Air Force in 1989. It is a very rare surviving example of this building type, and along with other buildings from this period, represents the physical manifestation of the global division between capitalism and communism that shaped the history of the late 20th century. The Avionics building is unique amongst the few such buildings in England, because of its size, form and internal survival of the vehicular decontamination unit and compressed air re-pressurising system. It is uniquely associated with the U2/TR1 aircraft, stationed only at Alconbury. As one of the last Cold War structures built in the country, it is the most sophisticated hardened structure remaining and as such has very special architectural and historic interest.
Listing NGR:TL2156676882"
This photograph shows a printer error on the screen with a notification saying that the paper tray is empty and needs to be refilled. We have decided to release this image under Creative Commons Attribution Licensing, so you may use it in any way you choose. However, we do ask that when you use this image, you credit us with a link to www.cartridgesave.co.uk