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Participants captured at the World Economic Forum on ASEAN in Kuala Lumpur, Malaysia, June 2, 2016. Copyright by World Economic Forum / Sikarin Fon Thanachaiary
Sebastian Munster - Tabula novarum insularum, Quas Diversis Respectibus Occidentales & Indianas uocant.
"A cartographic milestone by Sebastian Munster that is noted for a number of firsts:
* It is earliest collectible map which shows the recently discovered Western Hemisphere.
* The map names the Pacific Ocean, Mare pacificum.
* The large island of Zipangri, here seen just off the coast of California, is one of the earliest attempts to depict Japan on a map.
* This map clearly depicts the New World as a distinct insular landmass and clearly shows the continuity between North and South America.
* This map's inclusion in Munster's Cosmography, first published in 1544, (a widely read book along with the Geography from 1540) helped to seal the fate of America as the name for the New World.
The flags of Spain and Portugal fly over their respective possessions in the Caribbean and South Atlantic. The large galleon sailing west in the Pacific is a representation of Magellan's ship Victoria, the first to circumnavigate the world. The flags of Spain and Portugal fly over their respective possessions in the Caribbean and South Atlantic. North America is almost separated by an inland sea reflecting Verazanno's voyage of 1524 in which he incorrectly assumed that Pimlico Sound, across the Outer Banks, was actually the Pacific Ocean. This depiction of the supposed Verazzano Sea extending through North America to within a short distance of the Atlantic helped to perpetuate the belief that a route could easily be found across the new continent to the rich Spice Islands of the east. This misconception helped to stimulate further exploration of the region. Munster's imaginative drawing of "canbali" in the area of present day Brazil shows the European fascination with reports of cannibalism. Besides Zipangri are the "Archipelagus 7448 insularum", the 7,448 island off the coast of Asia that Marco Polo refers to in his book and the same islands that Christopher Columbus thought he had reached in 1492.
Munster's map was widely considered to be the standard map of the Americas until the publication of Ortelius' Americas map in 1570."
Info from mapmogul.com/catalog/product_info.php+manufacturers_id+15...
This choropleth map is part of a series that were made for CIFAS, the UK’s fraud prevention service. All the maps were styled consistently so that they compliment each other and they were published in Fraudscape: a report analysing fraud in 2012.
Mapping workshop in Nyangania, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
KIRMES is the german word for FUNFAIR.
Please push "F" key on your keybord. Thank you!
Andreas's most interesting | recent photos on Flickriver
Lara's most interesting | recent photos on Flickriver
Genoa, Palazzo Ducale. New Year's Eve 2016.
Videomapping
An event, organized by Palazzo Ducale, MondoMostre / Skira, Chamber of Commerce and the cooperation of Express, which becomes the main façade of the Palazzo Ducale in the virtual canvas of an animation music video (Video Projection Mapping the Studio Luca Agnani, music by Antonio Vivaldi and Giovanni Sollima) a way to enhance the architecture of the palace with spectacularly presented a preview of the works of the exhibition from the Impressionists to Picasso. A different and original way to wish the city.
As part of the celebrations and proclamation of April as Sikh Heritage Month, Premier Christy Clark announced today that 15 South Asian historic places are being added to British Columbia's Register of Historic Places.
The recognition celebrates BC's diversity and multiculturalism and the significance of British Columbians of South Asian descent and their contribution to the province.
Learn more: news.gov.bc.ca/releases/2017PREM0045-001148
Share Mind Mapping with friends, family & colleagues with this FREE "Try Mind Mapping" example Mind Map.
A FREE promotional pack is available in Word & PDF containing an A4 poster, A5 Big Bookmarks with space to make notes, perhaps even for adding keywords if a Mind Map is going to be created of a book, standard Bookmarks, plus a postcard sized version.
Download a free copy here: www.mindmapinspiration.co.uk/#/try-mind-mapping/4532486456
You can subscribe to the Mind Map Inspiration Blog to receive new Mind Maps at www.mindmapinspiration.com/ and follow me on Twitter @mindmapdrawer twitter.com/mindmapdrawer
Also available: E-Books designed to help you create stylish and artistic mind maps of your own - visit the Mind Map Inspiration Website for more details: www.mindmapinspiration.co.uk/
Moderne Kameras bieten heute eine stufenlose Dynamikbereichskorrektur an, die eigentlich ganz gut funktioniert. Die Kamera, egal ob in manuellem oder einem Automatikmodus ausgelöst, beaufschlagt dann intern einfach zu dunkle Bildbereiche mit einem höheren ISO-Wert, resp. dem Helligkeits- und leider auch dem Rauschäquivalent des entspr. höheren ISO-Wertes. Das macht sie dynamisch, je nachdem wie sie eine Szene einschätzt und welche Stufe der Nutzer vorwählt.
Im Grunde mache ich hier nichts anderes. Ich belichte zuerst im Histogramm relativ weit nach links, bzw. ausschließlich für die hellen Bildbereiche. Dann später am Computer reiße ich einfach nach Lust und Laune oder Bedarf die Tiefen auf, um so einen insgesamt genehmen, der Dynamik eines modernen Monitors angemessenen Bildeindruck zu vermitteln. Besonders bei dynamisch sehr delikaten Szenen, etwa im Gegenlicht, an Sonnentagen im Wald oder eben in engen schattigen Gassen, mit den jeweils sehr grellen Sonnenlichtspotts, ist diese Technik das Mittel der Wahl. Alles was man nachträglich aufhellt ist nicht schlechter, als hätte man es zuvor bei gleicher Belichtungszeit, aber einem entspr. höheren ISO-Wert fotografiert. Würde man mittig oder gar rechts belichten, so hätte man sich sehr wohl bessere Tiefen erkauft, aber nur um den Preis von ausgebrannten Lichtspots. Genau das gilt es aber zu vermeiden, möchte man aus einem RAW die mögliche Sensordynamik umfänglich nutzen, ohne zuviel Qualität in den Tiefen einzubüßen und diese Technik reicht heute auch für die meisten Situationen. Sie hat darüber noch den Vorteil, dass man etwaige Verwackler durch längeres Rechtsbelichten vermeidet.
Da hier ja wegen der unberechenbaren Lichtverteilung in den Motiven auch ein Verlaufsfilter überfordert wäre, hätte man früher bei diesem schwierigem Licht noch Belichtungsreihen gebraucht, so man denn abgeschnittene Höhen und Tiefen hätte vermeiden wollen, weiße und schwarze Bereiche in einem tolerablen Rahmen können ja auch ein Stilmittel sein. Aber seit ein paar Jahren, seit es iso-invariante Sensoren gibt, die die Signalwandlung noch vor der Signalverstärkung auf dem Sensor implementiert haben, sind Belichtungsreihen weitgehend obsolet, da man beim händischen, nachträglichen Nachbelichten nicht länger Gefahr läuft, das Verstärkerrauschen mit aufzuziehen und damit zu potentieren. Allerdings ist das stark vereinfacht dargestellt, denn es gibt noch andere Störquellen in jedem Prozessschritt von der Fotozelle bis zur fertigen RAW-Datei.
Es ist trotzdem zumindest näherungsweise möglich, von der Postproductiongängigkeit und Tone Mapping Toleranz einer RAW-Datei auf die Qualität eines Sensors und Bildprozessors zu schließen. Es gibt im Sensorlayout wohl immer Zielkonflikte zwischen einem guten Signalrauschabstand und hohem Basis-ISO-Dynamikumfang, guter Hoch-ISO-Stabilität für den Sport und der entspr. Auslesegeschwindigkeit, die ja bei Sportkameras auch nicht ohne ist und ebenfalls thermische Frickeleien macht. Wenn man mit 4k über die ganze Sensordiagonale filmen, 10 Bilder in der Sekunde bei immerhin gut 40MP auslesen, 15 Stops Basisdynamikumfang haben und trotzdem bei ISO6400 noch verwertbare Bilder erhalten will, dann fordert das eine Fab ganz schön heraus, dann wird die Produktion eines Sensors schnell sehr, sehr teuer und aufwändig.
Oder man macht es einfach wie Canon. Man verbaut wesentlich schlechtere Sensoren, die nur einen Bruchteil kosten, dafür um Potenzen mehr ausgemappte Defekte mitbringen und macht dann alles über die 'Skintones' und 'Menues' wieder gut. Das kann man tun, wenn der Markt es mit sich machen lässt. Ja, man wäre vielleicht sogar blöde, würde man das Geld der Shareholder in zu guten Sensoren verbrennen, die der Markt augenscheinlich gar nicht vermisst oder einfordert. Gute Sensoren sind was für Toycams wie meine.
Chuck Frey, the author of the MIndmapping Software Blog, published rencently an article entitled " The Future of Mind Mapping Software". It summarizes the essential fratures that should be incorporated in tomorrow's mind mapping software. I found this article very interesting and mindmapped the article's 7 key points. I used iMindmap V3, a really powerful Mind Mapping Software to create the Mind Map.
Mapping à 360°, projeté sur les 1500 m² de murs et de coupole du Grand Salon, proposé au visiteur, afin de rendre hommage à l’amitié entre La Fontaine et Fouquet au travers de la fable Le Renard et l’Écureuil.
Contée par Laurent Stocker, sociétaire de la Comédie Française, cette fable, qui circulait sous le manteau à l’époque de La Fontaine, et n’a été publiée qu’un siècle plus tard, plaide en faveur d’un dénouement heureux du procès de Fouquet.
(source site officiel du château de Vaux-le-Vicomte)
Le château de Vaux-le-Vicomte, situé sur le territoire de la commune française de Maincy (Seine-et-Marne), à 50 km au sud-est de Paris, près de Melun est un château du XVIIe siècle (1658-1661), construit pour le surintendant des finances de Louis XIV, Nicolas Fouquet. Il appartient désormais à une branche cadette des marquis de Vogüé.
Fouquet fit appel aux meilleurs artistes de l'époque pour bâtir ce château : l'architecte Louis Le Vau, premier architecte du roi (1656), le peintre Charles Le Brun, fondateur de l'Académie de peinture (1648), le paysagiste André Le Nôtre, contrôleur général des bâtiments du roi (1657) et le maître-maçon Michel Villedo. Leurs talents avaient déjà été réunis par le jeune Louis XIV pour construire des ailes au château de Vincennes en 1651-1653. Le roi refera appel à eux pour construire le château de Versailles, celui de Vaux-le-Vicomte servant alors de modèle.
(source Wikipédia)
Infographic of Science Hack Day SF project:
Grassroots Mapping
Balloons! Many feet in the air! Cameras strapped to them! Photo stitching! Aerial map!
blog.edenisawesomeawwwwyeah.com/2010/11/15/grassroots-map...
Hackers:
Stephanie Vacher
Eden Sherry
Paul Mison
Brett Heliker
ASCENSION: An Interactive Installation
----------------
The Project
Willpower (William Ismael) + Carrie Mae Rose collaborate in the duo FLUID THUNDER for the interactive projection mapping of the tetrahedron winged computational fashion installation at Eyebeam (Art + Technology Center in New York City).
----------------
The Process
Carrie Mae creates hand-built wing structures out of wire tetrahedrons and fabric. Willpower codes 2 animations in Processing, which is an open-source programming language, development environment, and online community. He uses Leap Motion, which is a sensory technology, detecting human hands and fingers. He uses a Processing Library by onformative (a studio for generative design based in Berlin) called LeapMotionForProcessing to use Processing seemlessly with Leap Motion. Willpower attaches his interactive human generated animations to the Leap Motion sensor. They follow a person's hand movements in real-time and on key with accurate precision. The public interacts with the installation by activating the wings through their physical movements.
----------------
The Story
The animation displays beams of light representing solar neutrinos and the love we have access to at all times. Wings symbolize aspiration and ascension. The light is symbolic of angelic light coming from realms above, shining down to inspire and remind us that we are pure love in our hearts. The bubble eruptions represent both the thunderous fire energy residing inside our human forms and the Big Bang Theory that we are all becoming lighter and lighter each moment in time throughout our expansion into infinite space.
----------------
The Experience
Human beings generate the art on the angel wings by moving their hands. They become part of the art. They create the art. An ongoing 3D generative animation is mapped behind the wings. An interactive animation generated by people is mapped onto the wings. Without human movements, no animation is created on the tetrahedron angel wings. We include you to be part of the art because it is about us. It is about the interaction between the artists and the visitors. We communicate and transcend messages which are experienced beyond just looking at a piece by making you a co-creator of the piece. It is about us coming together and interacting in the space with 'others' we may have not engaged in a conversations with otherwise. It becomes an unique shared experience.
----------------
Credits
Installed at Eyebeam.
Sculpture by Carrie Mae Rose.
Interactive Projection Mapping by WILLPOWER STUDIOS (William Ismael).
Video Shot + Edited + Music by WILLPOWER STUDIOS (William Ismael).
Watch Video: vimeo.com/78205976
Download Press Package: fluidthunder.com/ASCENSION-Press.zip
To know more about project, visit FluidThunder.com
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Guido Baumann
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Participants during the during the Session: "Mapping the World" at the World Economic Forum - Annual Meeting of the New Champions in Dalian, People's Republic of China, July 1, 2019. Copyright by World Economic Forum / Jakob Polacsek
MAPPING NATURAL AND UNNATURAL DISASTERS
The Notary Public (Erika Hennebury and Laura Nanni)
The Notary Public invite audiences to explore the secret emotional topography of our city. Our approach to psychogeography takes, from the participating viewers, a sampling of fragile and often hilarious incidents and physically imprints them on a map of the city where we are; highlighting a complex web of human interactions. Negotiating with a projected image, audiences are invited to physcially deposit their own personal memories and interactions on a living landscape of Toronto using a legend that indicates sites of mishap, phenomenas of love and landmarks of our everyday lives to create a new urban cartography.
Participants at the World Economic Forum on Africa in Abuja, Nigeria 2014. Copyright by World Economic Forum / Benedikt von Loebell
Testing mobile mapping of carbon-dixoide (CO2) in cities using the prototype DIYSCO2 sensor on car-sharing vehicles.
Part of album Urban CO2 Emission Mapping.
This method to map carbon dioxide emissions using mobile sensors on vehicles is described in: Lee J.K., Christen A., Ketler R., Nesic Z. (2017): 'A mobile sensor network to map carbon dioxide emissions in urban environments'. Atmospheric Measurement Techniques, doi:10.5194/amt-2016-200.
Hallway wall-painting at Charles Correa's Jawahar Kala Kendra in Jaipur, designed in 1993. Each of it's 9 enclosed sections is named after a planet and display a variety of textiles, crafts, weapons, etc.
Testing mobile CO2 Mapping in cities using the prototype DIYSCO2 sensor on car-sharing vehicles.
Part of album Urban CO2 Emission Mapping.
This method to map carbon dioxide emissions using mobile sensors on vehicles is described in: Lee J.K., Christen A., Ketler R., Nesic Z. (2017): 'A mobile sensor network to map carbon dioxide emissions in urban environments'. Atmospheric Measurement Techniques, doi:10.5194/amt-2016-200.
Mapping workshop in Nakhon, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Utilising a vast array of spectacular special effects, including fountains, fireworks, HD pixel-mapping projections, fire, water screens, multi-coloured lasers and a bright "Second Star to the Right" atop Sleeping Beauty Castle itself, this new signature show for Disneyland Paris will be presented every single night.
As the Second Star to the Right shines brightly in the skies above, Peter Pan flies onto the scene with Wendy following close behind. "What a perfect night for dreaming!" he proclaims, calling out for Tinker Bell to help them fly off to the star with her special pixie dust. Suddenly, Peter Pan's shadow jumps free and runs across the façade of the castle, Pan chasing behind. He grabs a hold of his feet, but the shadow pulls away only to smash right into the star, knocking its light -- and its dreams -- out!
They pour out across the castle, engulfing Peter's shadow and leading him on an epic journey through the greatest Disney Dreams ever wished upon a star. He dances with Lumière to "Be Our Guest" from Beauty and the Beast, flies on a magic carpet with Genie from Aladdin for the spectacular "Friend Like Me", meets Remy from Ratatouille in Paris and dances across the chimney tops with Bert from Mary Poppins to "Step in Time". Quasimodo, The Hunchback of Notre Dame, dreams of going "Out There" while Rapunzel dreams of seeing the mystical lights in "I See the Light" from Tangled.
Things turn sour as Dr Facilier from The Princess and Frog teaches Shadow a thing or two about be careful what you wish for. The tentacles of Ursula from The Little Mermaid twist and pull Peter's Shadow, before a fiery blast from the dragon of Maleficent from Sleeping Beauty erupts.
Finally, Captain Hook arrives on the scene, grabbing Shadow by his hook and turfing him into the waters where his ticking crocodile lies. Will Peter Pan be able to find Tinkerbell, save his Shadow and restore the magic to the Second Star to the Right, making it shine brightly in the night sky again, for dreamers around the world to wish upon?
Disney Dreams! at Disneyland Paris is an epic tale that teaches you: always believe in your dreams. Anyone can fly, and everyone can soar beyond the stars. If only you dream your dream.
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Stamen:
Every now and again I stumble over Stamen, and my shiny-shiny gene
goes into gear. Stamen is a design and technology firm in San
Francisco that over the past few years has worked on a number of
inspiring projects blending disparate fields and blurring their
boundaries. As they put it, "Experimental and client work have a way
of feeding into one another: the crossover process enriches both.
Stamen doesn't believe in a clear separation between ideas and
technology, or between client work and research work."
One foundational element that seems common to much of their work is
data visualization. A lot of their dataviz work connects to maps (the
original dataviz!). A couple of their recent map projects include
PolyMaps and PrettyMaps. Older projects/clients with mapping
components include Walking Papers (navigation), Crimespotting, Hope
for Haiti, Cloudmade Maps, Hurricane Maps, Cabspotting, TravelTime,
and more. You can see the range immediately, just from titles!
PolyMaps:
"Polymaps is a free JavaScript library for making dynamic, interactive
maps in modern web browsers." PolyMaps is available for download in
both Zip and GIT file formats. It can incorporate data from
OpenStreetMap, CloudMade, Bing, and can be formatted with CSS.
PrettyMaps:
"It is an interactive map composed of multiple freely available,
community-generated data sources:
- All the Flickr shapefiles rendered as a semi-transparent white
ground on top of which all the other layers are displayed.
- Urban areas from Natural Earth both as a standalone layer and
combined with Flickr shapefiles for cities and neighbourhoods.
- Road, highway and path data collected by the OpenStreetMap (OSM) project. ...
prettymaps operates very much at the edge of what the current crop of
web browsers are comfortable doing."
Social media is another theme they've worked with. Eddy is a new
Twitter visualization product from them, with earlier models or
prototypes ranging from the NBA Playoffs on Twitter through various
Flickr and Digg mashups and designs.
Eddy:
Eddy is a high-priced big-ticket product Stamen has created to "build
custom Twitter experiences quickly with simple powerful tools." It can
be used for metrics and tracking or for creating realtime interactive
audience experiences for live events. One of the barriers to
integrating Twitter on screen in live events is the possibility of
your hashtag stream being hijacked by spammers. Eddy gives you ways to
filter, control, manage, and block certain keywords in real time. It
doesn't just scroll the stream, but also provides a variety of
visualizations for your onscreen stream in what I am guessing is in a
Digg-like fashion, and thus much more engaging than most of the
Twitter visualization tools available for free.
Stamen has worked in so many areas and applied such a powerful
combination of creativity and content, that I could go on for a very
long time about how and why they inspire me.
You can find more about their work in their Everything section and
their Projects page.
Stamen: Everything:
Stamen: Projects:
I am going to choose just one (and oh, my, that was a hard choice!) to
discuss a little more.
Stamen: Books:
AND
Stamen has been pondering the boundaries and design of conventional
books, personal notebooks, and e-books with an eye toward trying to
create a vision for the future that incorporates the best of all of
these. What they say is:
"There’s a fluidity to digital media that’s intensely satisfying: a
sense of almost infinite malleability, multiple versions, code
proliferating across multiple variations, pieces that are different
every time you look at them... but sometimes it can get a bit
overwhelming. While we strive for a kind of engagement with
physicality in the rest of our work, there are limits to digital
media’s ability to leave anything lasting behind. It’s for limits like
this that notebooks are useful—they get filled with the physical
traces of the world instead of manipulation of the world behind the
screen. This work is not so much an antidote for a missing physicality
as it is a complement to the screen, and often a source for more
digital investigations."
What they do is to provide images that show what they imagine might be
possible. Or perhaps the images are actually generated from some
mysterious system they have yet to share with the rest of us. I don't
know. I do know that on our campus there is an initiative to imagine
alternative online textbook formats, and that this collection inspires
me to think very differently about those possibilities.
Print books preserve content in a fixed form. Digital media provide
content in a fluid form. Personal notebooks and printed books provide
space for marginalia, ponderings, explorations, doodling, expansions,
personalization, customization, criticism, carving, snipping,
repurposing, reaction, blending, transforming, connecting and much
much more.
I often sit in meetings next to a woman who seems to need to doodle to
focus and process. Her doodles are delightful visual little graphics,
very artistic and visual. Meanwhile, I am usually taking notes in a
code editor on my computer. Have you ever tried to doodle in an ASCII
editor while taking notes? It's possible, but it sure isn't very easy
and you can't really pay attention to what's going on around you. Not
to mention that there is not much of anything like handwriting in the
digital space. As I look at their images of blended book experiments
and environments, I find myself really longing for a space that allows
me the visual flexibility and personalization of taking notes by hand
on paper with the ability to share, preserve, disseminate, blend,
repurpose from digital environments. Just something to think about.
There is a lot more potential hidden in plain view in their images.
Go, look, ponder, and share YOUR thoughts about what the ideal book
could be like. Next up, adding in 3D visualizations and augmented
reality ...