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On May 23, 2022, members from the Critical Materials Delegation from the United Kingdom visited Argonne.
[EN] MATERIAL WANT is the first collaboration of artist/researcher Matthew Plummer-Fernandez and net art pioneers JODI. Bringing together their respective practices, they explore hybridisations of algorithms, errors, Internet found objects and digital fabrication. The result of this joint effort? A series of 3D-printed sculptures, uncanny, yet familiar objects, between incongruous assemblages and distorted reality.
[FR] MATERIAL WANT est la première collaboration de l’artiste/chercheur Matthew Plummer-Fernandez et des pionniers du net art JODI. Conjuguant leurs pratiques respectives, ils explorent les hybridations que génèrent les algorithmes, les erreurs, les objets trouvés d'Internet et la fabrication numérique. Le résultat de cette recherche commune? Une série de sculptures imprimées en 3D, objects à la fois étranges et familiers, entre assemblages incongrus et réalité distordue.
[NL] MATERIAL WANT is de eerste samenwerking tussen kunstenaar/onderzoeker Matthew Plummer-Fernandez en JODI, pioniers van de netkunst. Ze brachten hun praktijken samen en onderzochten algoritmische hybridisaties, fouten, objecten geplukt van het internet en digitale machines. Het resultaat van deze gezamenlijke inspanning? Een reeks 3D-geprinte sculpturen, die zowel vreemd als vertrouwd lijken. Het zijn onlogische assemblages en vervormde weergaven van de werkelijkheid.
[materials]
clay, sealing silicone, acrylic colour
varnish, bolts (as weights)
peals, beads, accessory supplies
Materials: Caron Simply Soft in color #9707 Dark Sage, black polyester fabric for lining, polyfil
Hook size: G/4mm
Pattern: Game of Thrones Inspired Dragon Egg
Modifications: Fabric instead of crocheted lining, changed top shaping
Recipient: John
Completed: 25 December 2013
An exhibition by Matthew Plummer-Fernandez and JODI
Picture by Matthew Plummer-Fernandez
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[EN] MATERIAL WANT is the first collaboration of artist/researcher Matthew Plummer-Fernandez and net art pioneers JODI. Bringing together their respective practices, they explore hybridisations of algorithms, errors, Internet found objects and digital fabrication. The result of this joint effort? A series of 3D-printed sculptures, uncanny, yet familiar objects, between incongruous assemblages and distorted reality.
[FR] MATERIAL WANT est la première collaboration de l’artiste/chercheur Matthew Plummer-Fernandez et des pionniers du net art JODI. Conjuguant leurs pratiques respectives, ils explorent les hybridations que génèrent les algorithmes, les erreurs, les objets trouvés d'Internet et la fabrication numérique. Le résultat de cette recherche commune? Une série de sculptures imprimées en 3D, objects à la fois étranges et familiers, entre assemblages incongrus et réalité distordue.
[NL] MATERIAL WANT is de eerste samenwerking tussen kunstenaar/onderzoeker Matthew Plummer-Fernandez en JODI, pioniers van de netkunst. Ze brachten hun praktijken samen en onderzochten algoritmische hybridisaties, fouten, objecten geplukt van het internet en digitale machines. Het resultaat van deze gezamenlijke inspanning? Een reeks 3D-geprinte sculpturen, die zowel vreemd als vertrouwd lijken. Het zijn onlogische assemblages en vervormde weergaven van de werkelijkheid.
Serpentine Pavilion 2022 Black Chapel by Theaster Gates
“Designed by Chicago-based artist Theaster Gates, the Serpentine Pavilion 2022 Black Chapel draws inspiration from many of the architectural typologies that ground the artist’s practice.
The structure, realised with the support of Adjaye Associates, references the bottle kilns of Stoke-on-Trent, the beehive kilns of the Western United States, San Pietro and the Roman tempiettos, and traditional African structures, such as the Musgum mud huts of Cameroon, and the Kasubi Tombs of Kampala, Uganda. The Pavilion’s circularity and volume echo the sacred forms of Hungarian round churches and the ring shouts, voodoo circles and roda de capoeira witnessed in the sacred practices of the African diaspora.
Black Chapel is a site for contemplation and convening, set within the grounds of Serpentine in Kensington Gardens. The structure’s central oculus emanates a single source of light to create a sanctuary for reflection, refuge and conviviality. The project mirrors the artist’s ongoing engagement with ‘the vessel’ in his studio practice, and with space-making through his celebrated urban regeneration projects.
Drawn to the meditative environment of the Rothko Chapel – which holds fourteen paintings by American artist Mark Rothko in Houston, Texas – Gates has produced a series of new tar paintings titled Seven Songs for Black Chapel. Creating a space that reflects the artist’s hand and sensibilities, seven paintings hang from the interior. In these works, Gates honours his father’s craft as a roofer by using roofing strategies including torch down, a method which requires an open flame to heat material and affix it to a surface.
As part of Serpentine’s dynamic summer programme, the Pavilion becomes a platform for live performances and public convenings. An operating bronze bell – salvaged from St. Laurence, a landmark Catholic Church that once stood in Chicago’s South Side – is placed directly next to the entrance. Pointing to the erasure of spaces of convening and spiritual communion in urban communities, the historic bell will be used to call, signal and announce performances and activations at the Pavilion throughout the summer.
Gates’ Serpentine Pavilion 2022 Black Chapel is part of The Question of Clay, a multi-institution project which comprised of exhibitions at Whitechapel Gallery (September 2021 – January 2022), White Cube (September – October 2021) and a two-year long research project at the V&A. The project seeks to investigate the making, labour and production of clay, as well as its collecting history, through exhibitions, performance and live interventions, with the aim of generating new knowledge, meaning and connections about the material.”
All text © Serpentine Gallery 2022, see: www.serpentinegalleries.org/whats-on/serpentine-pavilion-...
Locotrator a diesel da série "1150" que pertence à "EMEF" e se destina apenas a manobrar o material rebocado. Marca "Sentinel"
Recreació històrica de la IIª Guerra Mundial a Baldellou (Osca)
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recreación histórica de la IIº Guerra Mundial en Bandellou (Huesca)
User Simon Hedt
Suburb Frankston South
Phone 0423449271
Email duckman656@hotmail.com
Part Nylon Flyscreen mesh
Quantity 12 mtrs
Parent Item flyscreen door
Visual Condition mixed
Working Yes
Material
nylon mesh
Colour
black
Dimensions
Length: 12 mtrs
width from .8 to 1.2 mtrs
depth N/A
Weight N/A
Comments
extremely strong
Keywords
material
synthetic
nylon
mesh
flyscreen
Lt. Governor Anthony Brown remarks at the Maryland Transportation Builders and Materials Association 20th Anniversary Awards Banquet. by James W. Brown at Baltimore City
DoITPoMS, University of Cambridge
This secondary electron SEM image shows the cementite delineating prior austenite grain boundaries with a thin layer. The amount of proeutectoid phase is very low, with the majority of the area being taken by the pearlite eutectoid. Again each pearlite cell has a different orientation with the ferrite phase being selectively etched.
System
Fe-C-X
Composition
Fe, C 1.0 (wt%)
Reaction
Processing
Normalised
Applications
Sample preparation
Etched in 3% nital
Technique
Scanning electron microscopy (SEM)
Contributor
Prof T W Clyne
Organisation
Department of Materials Science and Metallurgy, University of Cambridge
Materials- rubber bands
Made- 2010
Rather love this one- it can be worn in a multitude of ways.
A ring combining my great fascination with elastic bands, bright, lush greens & flesh tones.
DSC_3819
Jeje! Pues si! Ha llegado a mis manos esta Icy doll (realmente feita la pobre =__=) gracias a mi novio! (Oh! Alabado sea mi novio!! XD )
Así que ya estoy planeado su custom, a ver si logro conseguir que se vea bonita ^^
Aunque para ser sincera, tengo en mente hacer algo total y completamente distinto a mis custom normales :D
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[EN] MATERIAL WANT is the first collaboration of artist/researcher Matthew Plummer-Fernandez and net art pioneers JODI. Bringing together their respective practices, they explore hybridisations of algorithms, errors, Internet found objects and digital fabrication. The result of this joint effort? A series of 3D-printed sculptures, uncanny, yet familiar objects, between incongruous assemblages and distorted reality.
[FR] MATERIAL WANT est la première collaboration de l’artiste/chercheur Matthew Plummer-Fernandez et des pionniers du net art JODI. Conjuguant leurs pratiques respectives, ils explorent les hybridations que génèrent les algorithmes, les erreurs, les objets trouvés d'Internet et la fabrication numérique. Le résultat de cette recherche commune? Une série de sculptures imprimées en 3D, objects à la fois étranges et familiers, entre assemblages incongrus et réalité distordue.
[NL] MATERIAL WANT is de eerste samenwerking tussen kunstenaar/onderzoeker Matthew Plummer-Fernandez en JODI, pioniers van de netkunst. Ze brachten hun praktijken samen en onderzochten algoritmische hybridisaties, fouten, objecten geplukt van het internet en digitale machines. Het resultaat van deze gezamenlijke inspanning? Een reeks 3D-geprinte sculpturen, die zowel vreemd als vertrouwd lijken. Het zijn onlogische assemblages en vervormde weergaven van de werkelijkheid.
ROMA ARCHEOLOGIA e RESTUARO ARCHITETTURA: Roma & la cultura americano del materialismo commerciale fa schifo: McDonald's, Coke-Cola & Marlboro's - "Monumenti e inciviltà (recidiva) Raggi, non ci sono più scuse." CORRIERE DELLA SERA (26/04/2017).
Monumenti e inciviltà (recidiva) Raggi, non ci sono più scuse, CORRIERE DELLA SERA (26/04/2017).
Il sindaco deve garantire che i romani non abbiano a vergognarsi della loro città devastata dai resti degli spaghetti al pomodoro. Non si possono tirare in ballo le eredità del passato: basta una pattuglia di vigili con il libretto delle multe, come avviene in tutte le metropoli europee.
Il sindaco Virginia Raggi deve sapere che sui monumenti deturpati dalla maleducazione e dall’incuria non ci sono scuse: la prima colpevole, se non si provvederà subito a ristabilire la legalità e il decoro, sarà lei. Quello che il Corriere ha documentato non può essere tollerato. Non si può sbranare una porchetta nella zona archeologica prossima al Colosseo: non si può. Non si può banchettare a spaghettata sulle scale di Trinità dei Monti (appena restaurata, peraltro): non si può. Non si può sporcare con il gelato la Fontana di Trevi (appena restaurata, peraltro): non si può. Il criterio è molto semplice, sorretto dalle leggi e dai regolamenti: si può o non si può. Se non si può, il sindaco deve garantire che i romani non abbiano a vergognarsi della loro città devastata dai resti degli spaghetti al pomodoro. Non ci sono scuse.
Non si possono accampare le solite giustificazioni che cercano di parare inefficienze e incompetenze, non si possono tirare in ballo le eredità del passato. Se non si riesce a fermare il vandalismo quotidiano che sfregia la bellezza di Roma e della sua storia e della sua architettura, allora vuol dire che non si hanno i requisiti minimi per governare questa città. Non ci vuole molto: basta una pattuglia di vigili urbani con il libretto delle multe, come avviene in tutte le metropoli europee. Basta l’amor proprio, il desiderio di tutelare un patrimonio inestimabile. E anche, ovvio, la capacità di governo. Se invece non si è grado di far rispettare una legge elementare, il referto è solo una: Roma è nelle mani di incapaci. Speriamo di aver torto.
FONTE | SOURCE:
-- CORRIERE DELLA SERA (26/04/2017).
roma.corriere.it/notizie/cronaca/17_aprile_25/raggi-non-c...