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"Site-specific map plotting the location of FM commercial and pirate radio stations within
London. Power lines are drawn in pencil on the back of the map which conduct the electricity
from the radio to the front of poster. Placing a metal pushpin onto each station then allows
us to listen to the sound broadcast live from that location."
Yn ystod ail flwyddyn eu Diploma Estynedig Lefel 3 yn y Celfyddydau Perfformio, bydd myfyrwyr yn ymgymryd ag uned o'r enw Perfformiad safle-benodol sy'n ei wneud yn ofynnol iddynt greu gwaith sydd i'w gyflawni mewn amgylchedd nad yw'n theatraidd. Mae perfformiadau safle-benodol blaenorol wedi cynnwys hanes glan y môr Aberystwyth a'r llynedd, fel rhan o ganmlwyddiant Dylan Thomas, straeon lleol am fywyd Dylan a Caitlin yng Nghei Newydd, Ceredigion rhwng 1944-45. Eleni, maent yn mynd allan i'r bryniau i berfformio 'Tales Along The Way' yn Llanddewi Brefi ac yn Soar-y-Mynydd ar ddydd Gwener 22 o Fai. Cymerodd y myfyrwyr eu hysbrydoliaeth gychwynnol o’r teithiau cerdded mae pererinion wedi eu cymryd o Ogledd Cymru i Eglwys Llanddewi Brefi dros y canrifoedd, yn ogystal â'r teithiau cerdded y mae pobl wedi eu cymryd i Gapel bach Soar-y-Mynydd yn ystod rhan gynnar yr Ugeinfed Ganrif. Mae'r ddau safle yn dal i fod yn ganolfannau crefyddol pwysig heddiw. Gan ddefnyddio barddoniaeth RS Thomas, emynau Ann Griffiths a thestun wedi ei sgriptio ar gyfer y perfformiad, mae'r myfyrwyr wedi creu perfformiad sy’n seiliedig ar symudiad yn bennaf ac sydd wedi ysbrydoli gan straeon lleol. Yna caiff straeon a chlecs eu gwau o’r rhain wrth iddynt ddilyn rhai o'r llwybrau a gymerwyd ers talwm.
In the second year of their Level 3 Extended Diploma in Performing Arts, students have a unit called Site-Specific performance that requires them to make work to be performed in a non-theatrical environment. Previous Site-Specific performances have included the history of Aberystwyth seafront and last year, as part of the Dylan Thomas centenary, local stories of Dylan and Caitlin’s life in New Quay, Ceredigion between 1944-45. This year, they go out into the hills to perform ‘Tales Along the Way’ in Llandewi Brefi and at Soar-y-Mynydd on Friday, the 22nd of May. The students took their initial inspiration from the walks that pilgrims have taken from North Wales to the church of Llandewi Brefi over many centuries as well as the walks that people did to the little chapel of Soar-y-Mynydd during the early part of the 20th Century. These two sites are still important religious centres today. Using the poetry of R.S. Thomas, hymns by Ann Griffiths and text scripted for the performance, the students have created a primarily movement based performance inspired by local stories from which tales and gossip is woven as they follow some of the routes taken in days gone by.
Textbook #4 ‘Specific Scenes, Occasions or Spaces’ was the theme today and my request 'no birthday arrangements' please, make something totally different.
Inspired by her granddaughter’s toys sitting in the toy box Sawling decided to do an ‘installation’ for a 'Toy Show'. How to make this fall into the category of ikebana – arrange lots of Miniatures pertaining to the toys. Sawling selected yellow and white daisies (a favourite with small children), red Geranium and a small branch of unopened Chinese lanterns. Very different and appealing to a young age – isn’t that what we want - get your children involved Sogetsu Ikebana
Yn ystod ail flwyddyn eu Diploma Estynedig Lefel 3 yn y Celfyddydau Perfformio, bydd myfyrwyr yn ymgymryd ag uned o'r enw Perfformiad safle-benodol sy'n ei wneud yn ofynnol iddynt greu gwaith sydd i'w gyflawni mewn amgylchedd nad yw'n theatraidd. Mae perfformiadau safle-benodol blaenorol wedi cynnwys hanes glan y môr Aberystwyth a'r llynedd, fel rhan o ganmlwyddiant Dylan Thomas, straeon lleol am fywyd Dylan a Caitlin yng Nghei Newydd, Ceredigion rhwng 1944-45. Eleni, maent yn mynd allan i'r bryniau i berfformio 'Tales Along The Way' yn Llanddewi Brefi ac yn Soar-y-Mynydd ar ddydd Gwener 22 o Fai. Cymerodd y myfyrwyr eu hysbrydoliaeth gychwynnol o’r teithiau cerdded mae pererinion wedi eu cymryd o Ogledd Cymru i Eglwys Llanddewi Brefi dros y canrifoedd, yn ogystal â'r teithiau cerdded y mae pobl wedi eu cymryd i Gapel bach Soar-y-Mynydd yn ystod rhan gynnar yr Ugeinfed Ganrif. Mae'r ddau safle yn dal i fod yn ganolfannau crefyddol pwysig heddiw. Gan ddefnyddio barddoniaeth RS Thomas, emynau Ann Griffiths a thestun wedi ei sgriptio ar gyfer y perfformiad, mae'r myfyrwyr wedi creu perfformiad sy’n seiliedig ar symudiad yn bennaf ac sydd wedi ysbrydoli gan straeon lleol. Yna caiff straeon a chlecs eu gwau o’r rhain wrth iddynt ddilyn rhai o'r llwybrau a gymerwyd ers talwm.
In the second year of their Level 3 Extended Diploma in Performing Arts, students have a unit called Site-Specific performance that requires them to make work to be performed in a non-theatrical environment. Previous Site-Specific performances have included the history of Aberystwyth seafront and last year, as part of the Dylan Thomas centenary, local stories of Dylan and Caitlin’s life in New Quay, Ceredigion between 1944-45. This year, they go out into the hills to perform ‘Tales Along the Way’ in Llandewi Brefi and at Soar-y-Mynydd on Friday, the 22nd of May. The students took their initial inspiration from the walks that pilgrims have taken from North Wales to the church of Llandewi Brefi over many centuries as well as the walks that people did to the little chapel of Soar-y-Mynydd during the early part of the 20th Century. These two sites are still important religious centres today. Using the poetry of R.S. Thomas, hymns by Ann Griffiths and text scripted for the performance, the students have created a primarily movement based performance inspired by local stories from which tales and gossip is woven as they follow some of the routes taken in days gone by.
On 4/20/15, with a warning all day that we were to expect severe thunderstorms, we ended up with what I think was a tornado cutting through my neighborhood. This damage was 8 houses away from me, and at the front area of my community they had it much worse with the main road being blocked and houses severely damaged. All-in-all, between our community and the community next to ours, there were 55 homes damaged/destroyed. Luckily, no people or pets were injured. I was completely obvious to the entire episode - sitting at my computer just thinking it was a typical heavy Florida rainstorm. I only have a few minor tree branches in my yard. When I called to talk to a friend she filled me in, picked me up in her golf cart and took me on a tour - I couldn't believe it! I heard on the TV this morning that officials will be coming out today to access the damage and determine if it actually was a tornado. I think it was one because it cut through on a specific path of destruction. The neighborhood right outside mine didn't even look like anything happened, not even a leaf was on the ground!
Photographic techniques capture electromagnetic wavelengths beyond human vision, revealing features invisible to the naked eye. These signals are processed into interpretable forms using methods like color mapping.
Pink lacks a specific electromagnetic wavelength, while grey poses a limitation due to its representation of only intensity—a blend of light and dark without spectral specificity. Imaging techniques reliant on spectral variation produce identical results for greyscale images unless non-visible data is present. Deviations from this uniformity may indicate errors, misinterpretations, or unknown phenomena.
Contention persists over analytical debates, including dismissible claims like Van Allen belt dangers and contested evidence of lunar mirrors. The precision of laser reflections targeting a moving 3x3-foot marker on the Moon highlights technical skill but often fails to resolve skepticism. For instance, a 0.1° shift moves a laser spot 670 km across the Moon's surface.
Forensic analysis (2022, 2023) of Apollo 11–17 photographs assessed authenticity claims. Images of humans in space, Earth, and the Moon's distant views were validated, but Moon landing visuals showed variations, suggesting diverse techniques may have replicated certain elements.
PEMi (Photoelectromagnetic Image) software enhances forensic analysis by differentiating natural and artificial light sources, revealing hidden features. Each PEMi-ID links to original sources, ensuring traceability and comparison.
Further exploration is available:
Lehti, A. (2024). The Silence of Inquiry: Forensic Reflections Reveal a Crisis of Perception. figshare. doi.org/10.6084/m9.figshare.28078982
Credits
2022-2025 © Andrew Lehti
1961–2023 © NASA, ESA
Software: PEMi (GitHub: andylehti/PEMi.git)
Explore PEM-I: pemimage.streamlit.app
CC BY-SA 4.0 License: creativecommons.org/licenses/by-sa/4.0/
Research:
Lehti, Andrew (2024). Cognitive Psychology and the Education System. figshare. Collection. doi.org/10.6084/m9.figshare.c.7532079
CC BY-SA 4.0
This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit creativecommons.org/licenses/by-sa/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.
This site-specific video installation is about removing people from their terrestrial urban experience and placing them, for just a few moments, at the zenith of the over and the nadir of the under, which is to say, above the clouds and below the sea.
This installation took place in Harlem, New York, from October 11th, 2012 – October 28th, 2012. It was produced in partnership with Chashama and the New York Foundation for The Arts' Curatorial Program.
For more info: www.ericcorriel.com/art/The-Over-And-The-Under
Thanks to Flickr user Reverend Sam (www.flickr.com/photos/reverendsam/) for letting me use one of his pics (www.flickr.com/photos/reverendsam/4291550764/) as a layer in the clouds video.
Specific sample site, Pond A15, across from Weep Site, Don Edwards San Francisco Bay National Wildlife Reserve, near Alviso. Sample taken from the foamy green area, near the red-rust rock. Salinity 141-PPT.
Book design for Brandon LaBelle's "Site Specific Sound" published by Errant Bodies Press, 2004. Design by R. Yau.
Site specific installation designed and produced by SOFTlab for the Frankfurter Kunstverein.
Group Exhibit:
The Systemized World
Curated by:
Photo: Marius Watz
Vladimír Turner
2012
Site-specific instalace- výstava WOULD YOU LIKE TO PLAY ANOTHER GAME(4+4dny v pohybu)
Slitinový rám, lano, mosazné koncovky, dvě směrová světla
… je celosvětově známý symbol squattingu. Squatting jakožto politický akt, vedoucí k rovnoměrnějšímu rozmístění statků na realitním trhu je jednou z alternativ, jak dát městu novou tvář. U nás(V České republice) je státním aparátem brutálně potlačován a nenachází mezi širší veřejností pochopení.
Jeho podstatou není pouze obydlení opuštěných, chátrajících budov, o které se z více či méně transparentních důvodů jejich vlastník nezajímá. Squaty se ve světě stávají důležitými kulturně-sociálními centry, důležitými meetingpointy, komunitními domy a kreativitě otevřenými platformami. V těchto případech pak jedinečným způsobem formují městskou tvář, obnovují zpřetrhané sociální vazby, osvěžují okolí.
Dům opuštěného casina v Pařížské ulici je právě jedním z těchto případů zbytečně chátrajících budov. Nachází se na jedné z nejdražších ulic světa a kulisi chátrajícího casina jsou symptomatické pro dnešní dobu mizící slávy Prahy. Spíše se ukazuje její vekslácká tvář, kamuflována levným pozlátkem.
Dům bývalého casina by mohl být obydlen, či sloužit jako kulturní centrum třeba tak, jako tomu je během festivalu 4+4dny. Ne pouze na jeden týden, ale na rok, dva, nebo třeba na dobu neurčitou. Vstup do budovy by pak rozhodně nebyl lemován rudým lanem a každý by byl VIP.
(1996) Photograph of "Wall Paintings" site specific installation in the former Saint Columbas Mental Hospital, Sligo, Ireland.
Limited edition exhibition prints were large format 5' x 4'
a site-specific work of dance, taiko, stilt walking, music and political theater in the enchanted hills of Northern California. Featuring work by Dance Brigade, Grrrl Brigade, Carpetbag Brigade, Alayo Dance Company, and from Columbia, Nemcatacoa Teatro, Hojarasca and Verbo*Bala.
Looking for a specific place to land in the lake. It the first layer on the ground are mostly herons and geese, but the rest is a vast selection of their species. No idea how they can find a bird they know again in there / Auf der Suche nach einem bestimmten Landeplatz im See. Ganz vorne am Boden sing grossteils Reiher und Gaense, aber dahintersehr viele Artgenossen. Keine Ahnung wie sich da Tiere wiederfinden die sich kennen.
Intervención Site-specific para exposición
INFORME PAIS en centro cultural Diego Rivera, Puerto montt, marzo 2012.
Lori Heinz looks at just a few of the many training mock-ups that assist with task-specific training for maintenance technicians on Hawker Beechcraft aircraft.
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
This site-specific installation is better than 99 percent of the absolute garbage I saw at the 2008 Whitney Biennial this year.
(more pictures you can see by clicking on the link at the end of the side!)
Photo: Vienna City Park plan - Flower - Lake
City Park Plan - Flower - Lake Ltd. © Vienna - specific
The Viennese City Park stretches from the park ring in the first district of Vienna up to the Haymarket in the third district of Vienna and is a of both tourists and local citizens well-visited park in Vienna. Its area is 65,000 m².
History
Yet in the Biedermeier the Water Glacis was a popular entertainment venue before the Karolinenstadttor (city gate). As part of the by the demolition of the city wall happened remodeling in the Ringstrasse, the project of a public park has been promoted on that site by the then Mayor of Vienna, Andreas Zelinka. This park was designed in the style of English gardens by the landscape painter Josef Selleny, the plannings were carried out by the city gardener Rudolf Siebeck. On 21th August 1862 the city park was opened as the first public park in Vienna.
Vienna River flows through the city park
The Wien River flows through the city park, Vienna © concrete
"Wien" (Vienna River) in the city park
On the right bank of the river Wien (Wienfluss) was 1863 the so-called children's park, today mainly characterized by paved playgrounds and sports facilities, which over the Karoline bridge (Karolinenbrücke) (since 1918 Stadtparkbrücke), built in 1857, with the on the left bank situated town park is connected.
In the years 1903-1907 was in the parking area after the regulation a by Friedrich Ohmann and Josef Hackhofer planned Vienna river engineering structure with the river gate, pavilions and river banks built, which is one of the sights in the park.
In earlier times visitors of the park for the stay in placed chairs had to pay fees that were collected by the chair women (the so-called Sesselweiber).
Attractions in the park
Kursalon
The Kursalon
The water Glacis was a spa pavilion in which healing waters for drinking cures were served. To that affect, in the years 1865 to 1867 for the city park also the Kursalon was built according to plans of Johann Garben. This historicist imposing home in the style of the Italian Renaissanceg is located at the John street (Johannesgasse) and has a large terrace in the park:
After the opening on 8th May 1867 were originally forbidden pleasures. As this concept was not adopted, yet on 15th October in 1868 was taking place the first concert of Johann Strauss (son) whereupon became the Kursalon a popular dance and concert venue in particular at the time of the Strauss brothers. Today, the Kursalon after a renovation phase is again venue for balls, concerts, clubbings and conferences and houses a café-restaurant.
Photo: Johann Strauss monument in the city park; © RM
Monuments
With the gilded bronze statue of Johann Strauss (son) stands in the city park one of the best known and most frequently photographed monuments in Vienna. It was on 26th June 1921 unveiled and is framed of a marble relief by Edmund Hellmer. The gilding was removed in 1935 and in 1991 applied again. Other monuments there are, for example, of Franz Schubert, Franz Lehar and Robert Stolz and Hans Makart, the City Park is in monuments and sculptures the richest park in Vienna.
The dairy (Meierei)
The former milk bar was built as part of the Wienflußverbauung (Vienna river engineering structure) according to plans by Friedrich Ohmann and Josef Hackhofer from 1901 until 1903. After suffering heavy damages during the Second World War the building was extended in the reconstruction. Today is in the dairy after another annex a restaurant.
Planting
The planting of the city park is characterized by a great diversity of species and is, as possible, focused on a year-round flowering. Through an avenue to the ring road noise and exhaust gases are filtered. Some trees are protected, such as a ginkgo, a crown of thorns (Honeylocust, Christusdorn), cottonwood tree and Caucasian wingnut.
Picture by Gigi Giannella. Queens Crescent Market, Kentish Town, London. 3rd December 2011. Part of Space for Change exhibition. Performance: Fumi Tomioka and Katsura Isobe
THIS IS MY NEW ORIGINAL MESH JEWEL!
UNIC KIND INTO SECOND LIFE
All of them are done with they specific texture to give the reflect of the gem color to the metal and over the Gem.
I have included some special color and reflect feature to make the Jewel more realist and bring at the more Higher level for a Jewel can be into Second Life.
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How beautiful are the Jewels of the Royalty. Inspired by them, I have created for you for some of them with a very High quality of Pearl and Gems. I think it's One of the best part of Second Life, to be able for a moment to be the ''Princess''
to created our World of Dreams!
Offer into 15 Color: Black, Pink, Purple, Yellow Topaz, Peach, Light Pink, Magenta, Orange Fire, Peridot, Ruby, Blue Sapphire, Royal Blue, Emerald, Crystal & Light Blue, FATPACK & DEMO available.
(Notice into MP you will find 6 colors to get the choice of all the color please come to the ApoTHEOSeS Store In World, click on the URL to tp you front the Earrings place)
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Included into this original Version: 1 Color Gem and 2 Metal color : Gold and Platinum of:
~ 1 Pair of Original Platinum Sapphire & Diamond Earrings with special effect for each color.
~ 1 Pair of Original Gold Sapphire & Diamond Earrings with special effect for each color.
All come with ''Copy and Resize'' right. maps.secondlife.com/secondlife/Hibdon/93/199/30
ROIL, Christine Sciulli, site specific installation at Smack Mellon photo by Etienne Frossard courtesy of Smack Mellon.
ROIL is an 8 channel video projection of expanding and contracting circles of white light onto a 2000 yard white mesh installation (35'Hx55'Lx28'W) at Smack Mellon (92 Plymouth Street, Brooklyn, NY) on view through 21 February 2016.
Christine Sciulli
Artist Statement
ROIL
December 2016
My most recent explorations have focused on the projection of plane geometries through various three dimensional networks to generate a dynamic mapping of solid geometries of light through space. In this installation, projected circles of white light expand and collapse through Smack Mellon’s cavernous space in a frenzy which harkons back to the roiling steam that powered surrounding factories.
Smack Mellon’s current home once belonged to Robert Gair, who patented his revolutionary design for a structurally sound three-dimensional lidded box folded from a single two-dimensional sheet of paper without adhesives in 1900. Industrialist Gair housed his widely varied paper product operations in several buildings concentrated in DUMBO. “Gairville” was fueled by tons of coal dropped through chutes carved out of the 4th and 5th floors of this former mill. Boilers in this vast hall superheated, churned and compressed water into hissing steam that pulsed through pipes and coursed into adjacent buildings supplying heat and energy. Racing progress and rapidly expanding industrialization, made possible by the relatively simple kinetic expansion of water into a vapor that could provide so many uses, was the starting point for my immersive, site-specific installation, ROIL. My installation stretches through the industrial hall offering opportunities to inhabit it’s passages, caves, nooks, hubs and low overhangs which become clear to the viewer as dark adaptation takes place.
Alison Saar, Born Los Angeles, CA 1956
Rouse, 2012, wood, bronze, paper, antler sheds, and stamped ceiling tin,
The word "rouse" means to awaken and animate, and this sculpture evokes the self-awakening and personal transformation we often experience when encountering a turning point in life. Alison Saar made Rouse when her daughter left for college. The artist began thinking about "being menopausal . . . moving into new territory in my work . . . ready to let this other part of me mature and come out and be realized."
The massive antlers cradle a delicate, translucent adult figure in a fetal position, like a creature preparing to emerge from its cocoon. Scattered on the ground below are antlers that suggest a root network and, as the artist notes, mark "the passage of time to bring a child to adulthood."
“When I’m working with specific ideas, information from cultures outside of my own, I seek to understand them through my own personal experience in relation to everything I feel: my pain, my understanding of love or anger, what I hope for and dream about.”
–– Alison Saar, 1995
Alison Saar’s sculptures and installations are rooted in her interests in materiality and histories of art, religion, and spirituality from a global range of communities, including the African diaspora and Indigenous peoples, among others.
Saar was raised by the accomplished artists Betye and Richard Saar, whose distinct careers shaped her artistic development. Saar’s father, a classically trained art conservator at the Los Angeles County Museum of Art (LACMA), encouraged her to read books on Michelangelo, which influenced the solid and muscular physicality of her sculpted figures. Her mother’s artwork—assemblages of found objects that explore spirituality, folklore, and Black experience—fostered Saar’s interests in self-taught, African, Mexican, Native American, East Indian, and Asian art. In 1963, Saar moved with her parents to Laurel Canyon, a semirural enclave in Los Angeles, where she began the intensive engagement with found materials that proved crucial to her artistic practice, foraging for objects that she viewed as having “memory and spirit and a sense of that history.”
From 1974 to 1978, Saar attended Scripps College in Claremont, studying art of the African diaspora with Dr. Samella Lewis while making abstractions that attempted to, in her words, “evoke spirit through color and a very ethereal form.” In 1981, she received her MFA from the Otis Art Institute in Los Angeles, carving her first wooden figurative sculptures for her thesis. A year later, Saar moved to New York City and began the Studio Museum in Harlem’s Artist in Residence program in 1983. There, Saar constructed larger-than-life sculptures of women and men from salvaged tin ceiling tiles and wood. In 1991, Saar began bronze-casting public artworks, creating figurative statues that responded to their sites through layered cultural and historical references.
In the 1990s, Saar became a mother and began integrating this new experience into her work. She collaborated with her mother on works and shifted her subject matter to be “very female.” This mode culminated in Rouse (2012, SAAM), made when her daughter left for college. During this period, Saar also addressed current events such as the AIDS epidemic, Hurricane Katrina, and racial violence, creating an array of works that “attempt to distill bigotry to its essence in order to dispel it.” In the years following President Barack Obama’s election, she continued to probe racism through works that recast historical Black literary characters from racial stereotypes to autonomous subjects, such as in Reapers (2021, SAAM).
Imbuing urban and rural detritus with personal and cultural references, Saar’s career-long engagement with figuration takes “the ordinary” and goes “with it into the surreal.” As she once stated, “I’ve always treated the body as a courier for ideas, and within this shell we can understand and feel an experience better than a cerebral understanding.”
Authored by Gabriella Shypula, American Women’s History Initiative Writer and Editor, 2024.
____________________________________
"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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Benji Boyadgian
"The Temporary Archive"
(prelude)
"The Temporary Ruin"
(ongoing project)
Site-Specific Installation
Al Ma'mal (The Tile Factory)
Jerusalem Show VII: Fractures, Intensities
curated by Basak Senova
organized by Al Ma'mal
part of Qalandiya International II
Photo by Rula Halawani
InteliGEN
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Specific test on the more visible scratch, as you can hear (sorry ambient sound only) there's no effect on the sound because of the scratch
--
Disco VG+ / Portada VG
$7.50
Record: Side B have a more visible scratch but seems to be just cosmetic because when played it doesn't affects (see the video in the link). Sleeve: Hole punch on the cover; corner wear; light edge wear; light ring on the back cover. || Disco: Lado B tiene un scratch más notable pero es cosmético porque al tocarlo no afecta el sonido (ver video en el link). Portada: Marga de agujero de 3mm, desgaste de esquinas, desgaste ligero de bordes, ringwear ligero en contraportada.
Skeletan.—A specific type of ped and void surface feature consisting of clean sand or silt coatings. It may have formed by translocation and deposition of sand or silt from one horizon to another, or it may consist of material within a horizon from which finer particles have been removed from a surface, leaving clean sand or silt grains behind. Some skeletans are formed by reduction-oxidation processes and are described as “clay depletions,” a specific type of redoximorphic feature. The presence of skeletans is used as a criterion for interfingering of albic materials, for some Pale and Kandi great groups, and for some Glossic and Alfic subgroups. The terms “silt coats” (which are not discernable with 10x lens) and “sand coats” (which are discernable with 10x lens), rather than “skeletans,” are preferred in profile descriptions.
Figure 102.—Skeletans or silt coats (white areas) on ped face of a fragipan formed in loess. Large portions of the ped face have been stripped of clay leaving behind clean silt grains. These features are also described as clay depletions. The darker, reddish brown areas are soft masses of iron accumulation.
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
This site-specific video installation is about removing people from their terrestrial urban experience and placing them, for just a few moments, at the zenith of the over and the nadir of the under, which is to say, above the clouds and below the sea.
This installation took place in Harlem, New York, from October 11th, 2012 – October 28th, 2012. It was produced in partnership with Chashama and the New York Foundation for The Arts' Curatorial Program.
For more info: www.ericcorriel.com/art/The-Over-And-The-Under
Thanks to Flickr user Reverend Sam (www.flickr.com/photos/reverendsam/) for letting me use one of his pics (www.flickr.com/photos/reverendsam/4291550764/) as a layer in the clouds video.
Bianco-Valente
Tu sei qui
Installazione site specific, cortile di Palazzo Strozzi. 11.12.2014-25.01.2015
Shoreham Sculpture Trail
with The London Group
and Friends. A weekend of site specific art by over 70 artists spread around the village of Shoreham, Kent.
One of the largest sculptire trails the UK has ever seen. Featuring 30 London Group members and invited artists, including many prominent UK sculptors. 76 artists will be exhibiting over 200 sculptures in 26 gardens. The astonishing diversity of the exhibits ranges from the monumental to the ephemeral with works in metal and stone, with interactive work and performance and the Trail will be particularly unusual in the number of site-specific works. The idyllic village of Shoreham Kent, a gem just on the edge of London, is a beautiful place to visit just for itself and in June the gardens of all sizes, many on the river, will be at their best - visitors couldn't wish for more perfect surroundings in which to view sculpture. Most artists will be present to meet visitors during the trail and many will be giving talks. The Trail is curated by London Group President Susan Haire.
Land art ephimeral intervention.
Mountain of clay hand molded with the Colombino technique. 2012
dim. 200 x 250 x 180 approx
Veliko Tarnovo International Art in Nature Symposium 2012
SPECIFIC INFO: Haf Life played Santarchy at PJ's Lager House.
GENERAL INFO: Lager House, Saturday, Dec.18, 2010. Photographs by Donna Terek, 313-598-0179
In Chisinau si in Republica Moldova sunt foarte multe oferte de vanzare apartamente cu multe modele unice exterioare cit si interioare cu multe tipuri de desing iar intr-o mare parte clientii sunti derutati si confuzi si nu stiu care model de apartamente le indeplineste cerintele dupa criteriile...
scriuceva.ro/caracteristici-si-specificatii-la-oferte-de-...