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People as a whole scare me.
thats why I keep them at a reasonable distance.
I should stop that, but it's hard when actions differ from words.
**fourty-six of three sixty-five**
Date: 1953
Brand: Marlboro
Manipulation Technique: Using Light/Fresh as a Metaphor for Healthfulness
For more information on BehindTheSmoke, please visit www.behindthesmoke.com/.
Please visit tobacco.stanford.edu for an extensive collection of tobacco advertisements.
My favorite hangout rises again... I'm hoping they've kept Jim's perogies and salads on the menu.
This is one of the first shots from the X100s, overexposed by over two stops. The JPG was a complete loss, but the RAW file had amazing latitude with nothing blown out.
Learning my new tools--Fujifilm X100S and LightRoom 5.
[綾瀬. 東京. Ayase, Tokyo. 2010 / Nikkor 50mm. f/1.4. iso1000. 1/100]
Recalling a conversation with a girl (pretending) studying french (dadou~ knows who i'm talking about) last week. As she was boasting around how she was deep into muay thai and how great it was, i shared my experience with finding a good martial art place in Singapore, even if obviously she did not have enough time to listen at what anyone else but her could say, engrossed as she was in showing off.
I told her how i had these preconceived ideas that, Singapore being in Asia, i would easily find some dojo or boxing clubs with great spirit. And how i had been often disappointed, in most of the several trial courses i attended, to find a recurrent state of mind far from my expectations. A state of mind made of shallowness, arrogance, disrespect for other martial arts or experiences.
Shallowness, with this constant obsession of fitness, of looking good, complacency and impatience.
Arrogance, with the delusion of thinking you're the best, even after just a few years, and with this obsession of being efficient.
Disrespect, by constantly comparing with the other ways of martial arts, roughly simplifying them in order to demean them, without trying to know more about them.
I felt this attitude in the western parts of this world as well, but never so blatantly. Actually, in Europe or Northern America, i felt sometimes rather a sort of sect-like attitude, triggering that arrogance in relation with other schools or ways (a chapel-like aspect i always hated in martial arts), while, in Singapore, it rather sounded like a consumerist attitude, as if martial arts and clubs were brands, like "ok, i found the best item, best value for money, and every other brand is not worth it"...
In other words, it seemed as if the local kiasuism ("fear to lose"), added with impatience, ignorance of the rest of the world (one of the most astonishing contradiction of Singapore, being on one hand the epitome of a cosmopolitan hub open to the rest of the world, and, on the other hand, sometimes unable to understand the way the rest of the world is working and thinking), a consumerist state of mind, would somehow rub off (and possibly taint) on the spirit of martial arts, or at least the way they are taught and comprehended. Wanting to grab all, immediately and any old how - at the conjunction of kiasuism (=fear of losing), impatience and bochap (=carelessness) attitude.
Too busy bragging around for paying attention to the metaphorical aspects of my remarks, the girl seemed to give more substance to my point, which didn't need that honour. Here's what she said :
"- Yeah, yeah, but my club is deep in spirit, you know..."
"- Ah. Great you found a club not obsessed by fitness and appearance. What's its name?" i asked.
"-Fitness First"
"-Ah. But... er... I guess you're learning also the cultural aspects and the spirit behind thai boxing, like the rituals and the way to control strength and breath, right?"
"-Yeah, of course. But not this bullshit with the dancing and so on. We kick bags and we have thai r'n'b..."
"-Ah."
Then she got carried away : "-But it's so much better than all those shits you're talking about... Muay thai is the best, you know. Boxing? Bullshit! It's just 6 different movements. So poor, and inefficient. Kung fu? It's just for movies, it's not efficient, actually. And the thing you talk about, whats its name again lah? Ah yes, aikido. Just bullshit..."
"- You've tried these martial arts before, then?" i asked.
"- Huh? What for? Cannot lose my time lah. No, muay thai is the best, and my club is really the best. I'm training 5 times a week now, and i'm in super shape. You should try it... Er... but you have to be in good shape..." she said. The other girl who was patiently listening at her boasting rolled her eyes, had a bemused look at the flabby tummy and arms of the muay thai queen wannabe...
I kept a frozen smile, listening patiently at this half-my-age girl, stuck in her aggressive certitudes. In a blink of an eye (or two, maybe), i felt that stupid thought creeping into my brain, wondering how many seconds it will take to knock her out with one of the not-so-inefficient tricks all her aerobic-like-muay thai classes won't teach - probably a simple headbutt would be enough. Then i felt ashamed to get contaminated (even for just a short moment) by her aggressive certitudes.
"- Perhaps i'm too old to rely only on my strength, stamina and aggressivity, i guess...", i said.
"- Yeah... That's why fitness gyms are good for teaching muay thai, you see...", she philosophically observed
Then i asked her : "- Thank you for the information. For how long have you been doing muay thai, again?"
"- Almost one year, and my teacher says i'll be an expert soon."
"- So, you don't need to get any exam then, i guess, like french, since you did not feel the need to pass the exam for going to the next level..." i said bitterly, this girl's level and attention in french class being pathetic.
"- Yeah... Er... No, it's not the same... i mean er... ", she muttered.
"- If you say so. Have a good day..."
[version française]
Il revient à ma mémoire une conversation avec une fille étudiant le français (ou du moins prétendant le faire, dadou~ sait de qui je veux parler), la semaine dernière. Comme elle n'arrêtait pas de se vanter et de dire comme elle était à fond dans la boxe thai et ô combien c'était génial, j'ai partagé un peu de mon expérience à propos de trouver un bon lieu pour pratiquer les arts martiaux à Singapour, même si manifestement elle n'avait pas le temps d'écouter ce que quiconque d'autre qu'elle pouvait avoir à dire, absorbée qu'elle était à se la pêter.
Je lui ai dit que j'avais toutes ces idées préconçues selon lesquelles, Singapour étant en Asie, j'y trouverais facilement des dôjo ou des clubs de boxe avec un bel esprit. Et combien j'avais été souvent déçu, dans la plupart des essais que j'avais pu faire, de n'y trouver qu'un état d'esprit récurrent, bien loin de mes attentes. Un état d'esprit fait de superficialité, d'arrogance et de manque de respect vis-à-vis des autres arts martiaux et des expériences différentes.
Superficialité, avec cette obsession constante du fitness, d'avoir l'air beau, complaisance et impatience.
Arrogance, avec cette illusion de croire qu'on est le meilleur, même après à peine quelques années, et cette obsession de l'efficacité.
Manque de respect, en se comparant constamment avec les autres arts martiaux, en les schématisant grossièrement pour mieux les rabaisser, sans chercher à en savoir plus sur eux.
J'avais également ressenti parfois cette attitude dans les parties occidentales de ce monde, mais jamais de façon aussi flagrante. En fait, en Europe et en Amérique du Nord, je sentais plutôt parfois une sorte d'attitude sectaire, déclenchant cette arrogance vis-à-vis des autres écoles ou voies (un esprit de clocher que j'ai toujours détesté dans les arts martiaux), alors qu'à Singapour, ça s'apparente plus à une attitude consumériste, comme si les arts martiaux et clubs étaient des marques, du genre "bon, j'ai trouvé le meilleur article, le meilleur rapport qualité-prix et aucune autre marque n'est à la hauteur"...
En d'autres termes, tout se passe comme si le kiasuism ("peur de perdre"), ajouté à l'impatience, l'ignorance du reste du monde (un des paradoxes les plus étonnants de Singapour, à la fois symbole d'un port cosmopolite ouvert sur le reste du monde, tout en étant parfois incapable de comprendre la façon dont fonctionne et pense le reste du monde), allié à un état d'esprit consumériste, venait d'une certaine façon déteindre sur l'esprit des arts martiaux (et peut-être même le souiller), ou du moins sur la manière dont ils sont enseignés et appréhendés. Tout, tout de suite et n'importe comment - à la jonction entre kiasuism (=peur de perdre), impatience et attitude bochap (=je m'enfoutisme, manque de soin).
Trop occupée à se vanter pour prêter attention aux aspects métaphoriques de ma remarque, la fille a donné sans s'en rendre compte plus de substance à mon argument, qui n'en demandait pas tant. Voici ce qu'elle a dit :
"- Ouais, ouais, mais mon club il est à fond dans l'esprit, tu vois..."
"- Ah. C'est super que tu aies trouvé un club pas obsédé par le fitness et l'apparence. Il s'appelle comment?", je lui ai demandé.
"-Fitness First"
"-Ah. Mais... Euh... Je suppose que tu y apprends aussi des aspects culturels et l'esprit derrière la boxe thai, comme les rituels et la manière de contrôler sa force et sa respiration, non?"
"- Ben ouais, bien sûr. Mais pas ces conneries avec la danse à la con et tout. On tape dans des sacs et y'a du r'n'b thailandais..."
"-Ah."
Et puis elle s'est emballée : "- Mais c'est tellement mieux que toutes ces merdes dont tu parles... La boxe thai, c'est c'qui a de mieux, tu vois. La boxe? C'est de la merde! Y'a juste 6 mouvements différents. Tellement limité, et inefficace. Kung fu? C'est juste pour les films, c'est pas efficace, en fait, tu vois. Et le truc que tu m'as dit, comment qu'ça s'appelle déjà, là? Ah ouais, aïkido. C'est juste de la merde..."
"- Alors tu as essayé ces arts martiaux avant?", je lui ai demandé.
"- Hein? Pour quoi faire? J'ai pas d'temps à perdre, là. Non, la boxe thai c'est c'qui a d'mieux, et mon club c'est l'meilleur. J'm'entraîne 5 fois par semaine maintenant, et j'suis en super forme. Tu d'vrais essayer... Euh... Mais bon 'faut être en forme quoi...", qu'elle m'a dit. L'autre fille qui l'écoutait patiemment se vanter a levé les yeux au ciel et a jeté un regard désabusé sur le ventre et les bras flasques de celle qui se voyait reine de la boxe thai...
Un sourire figé sur mes lèvres, j'ai écouté patiemment cette fille deux fois plus jeune que moi, engluée dans ses certitudes agressives.
L'espace d'un battement de cils (ou deux), je me suis surpris à sentir cette pensée stupide s'insinuer en moi, du genre combien de secondes me faudrait-il pour la mettre hors combat en utilisant un de ces trucs pas-si-inefficaces-que ça qu'elle n'apprendrait jamais dans un de ses cours de boxe thai à la sauce aérobic - probablement qu'un simple coup de boule suffirait. Puis, immédiatement, je me suis senti honteux de me faire contaminer pour un instant par ses certitudes agressives.
"- Je suis peut-être trop vieux pour croire uniquement en ma force, ma résistance et mon agressivité.", lui ai-je fait remarquer.
"- Ben ouais, c'est pour ça que les clubs de fitness c'est bien pour faire d'la boxe thai...", a-t-elle philosophiquement observé.
Je lui ai demandé : "- Merci pour ces informations. Tu fais de la boxe thai depuis combien de temps, déjà?"
"- ça va faire bientôt un an, et mon prof dit que je serai une pro bientôt."
"- Alors, t'as pas besoin de passer d'examen, je suppose, comme pour le français, puisque tu n'as pas senti le besoin de passer l'exam' pour t'inscrire d'office au niveau suivant...", j'ai dit amèrement, le niveau d'attention et le niveau tout court de cette fille en cours de français étant affligeant.
"- Ouais... Euh... Non, c'est pas pareil...j'veux dire euh... ", elle a marmonné.
"- Si tu le dis... Bonne journée..."
"Their new car turned out to be a lemon. It never ran right."
Taken for Macro Mondays.
2/14/2011: Theme: Metaphor
Playful metaphor for European MOOCs participants. For more info, check out openeducationeuropa.eu/en/blogs/open-your-professional-de...
Our professor Juliet was teaching us about Gustav Freytags' dramatic structure and forgot how the story of "Snow White" went. So I look it up on Wikipedia and BAM we know the story of "Snow White", also Germans write some crazy children's stories.
Jim owned the Metaphor Cafe for a few memorable years and immediately distinguished himself as the city's premier purveyor of pierogies. His salad dressing, which he claimed had some ungodly number of spices, was legend, as were his enchanting waitstaff of young women, all with far more charm and attitude than restaurant experience.
What I loved most about the Metaphor in those days were Jim's paintings. The cafe was his canvas, from entrance to restrooms, everywhere one looked--walls, ceilings, floors, counters, tables, even the plumbing.
This painting is one of very few left at the Metaphor, on the entry door to the space Jim kept next to the cafe. This little room was fully fitted out as a hair styling salon, where Jim would treat his preferred customers to styling sessions while their dinner was (ever so slowly) prepared. PJay loved the attention, and she'd always return to the table coiffed in some radically altered state. Meanwhile, I'd smoke a cigar and flirt with Jim's waitress du jour.
It's only been a few years since Jim sold the Metaphor, but it seems an eternity to me.
Macro Mondays - "Metaphors"
Dark Heart
I had a black and white roll of film that I wanted to finish off so I took a few shots using a Lensbaby lens with a heart shaped aperature ring inside. I scanned this as a black and white positive (instead of a negative) so that the heart-shaped light bokeh would come out black instead of white.
Apart from a crop there is no digital processing, this is a film picture.
-----
Taken with Nikon F80 using Kodak T-MAX 100 developed in Ilfotec DD-X for 7 mins 40 seconds at 19C
Invisibility by environment
An object may be classified as "invisible" if it cannot be noticed by use of sight due to environmental factors other than the fact that it doesn't reflect light. An object that might normally be seeable may be classified as invisible if it is:
* Behind an object.
* The same colour or pattern as the background. (Camouflage)
* Patterned so that its outline is hard to determine.
* In an environment which is too dark or too bright.
* In a particular observer's Blind spot (outside that observer's line-of-sight).
I captured this from Bowness looking towards the North-west. This is a standard 20 second long exposure. The clouds are blurred due to the extended shutter interval.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©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.
In front of the Ratzeburg Cathedral stands a large wooden cruzifix with the inscription: "Vergesst den deutschen Osten nicht" (Don't forget the German East"). I assume this to be a rather puzzling incitement to most (non German) visitors but to me it excites all the memories of a youth spent during the cold war era. Ratzeburg was then a border town in the middle of Germany delimiting what some called the "free" and others the "imperialistic" world. The Bild-Zeitung, which the woman is reading, was the acute voice of anti-communism while the recent fascist past of the country had tidily been disposed of in the waste bin of collective concealment. It was hard to breath then...
In the picture a friend of mine from those days and an unknown lady.
J. Spencer Smith Elementary School - Tenafly, NJ
This is my first attempt at a triptych!!! Not Bad!!!
Camera: Cosina Voigtlander Bessa R3M
Lens: KMZ Jupiter 3 50mm f1.5
Film: Ultrafine 400
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
The new growth slowly re-engulfs the recently revealed monument in the cemetery at Arnos Vale reclaiming it as it's own again. The metaphor of the broken column here with added poignancy through the actions of nature and the light glimpsed through the forest beyond. .
This watch is a simple, inexpensively-made pocket watch that was given to me as a best man gift.
The second hand fell off right around the time when said friend was already having marital troubles of a severe nature that eventually resulted in an expedient divorce. The face (dial) of the watch went crooked and rotated around the time that my relationship was slowly falling apart and in both cases, there was pretty much nothing I could do about it.
The watch is now fixed. Life eventually fixes itself, but on its own timetable and the impatient must work very hard to distract themselves while it does so.
Young with a dire future. Deeply sad eyes.
William-Adolphe Bouguereau, artist
French, 1825 - 1905
The Broken Pitcher, 1891
oil on canvas
53 x 33 (134.6 x 83.8 cm)
Gift of M.H. de Young 53162
i came across this in London as i was walking around in the back streets (as i often do) to find some Banksy work...
I couldn't believe it when i found it, this is NOT altered in anyway, i found these beautiful flowers thrown like this into a trash can...not only was i amazed at seeing them, but also, how many people would ever see something like this, wandering around you see these small things that can mean so much, you would never see this stuff as a tourist in London...
anyway, the more i think about it, i wonder how, when we go through difficult circumstances this is what we see as life
me: the pink flower
my life: all the leaves
my insecurities: the brick step
the easiest way over...is to go towards the light a bit then make a right....
realizing then all i have to do is go around the chaos to find peace of mind.