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Instalación Site-Specific en Campo en Los Muermos X Región, para "Element`aire" encuentro de Arte, Campo y Naturaleza,
8-14 Junio 2011.
SPECIFIC INFO:
GENERAL INFO: St. Patrick's Parade day at P.J.'s Lager House, Corktown, Detroit, Sunday, March 13, 2011. Photographs by Donna Terek, 313-598-0179
2019-07-26: H.E. Geraldo Martins, Minister of Economy and Finance of Guinea-Bissauand, AfDB Governor; Serge N’Guessan, AfDB Deputy Director General for the region and an Official during the Guinea-Bissau Country Specific Compact Signing Ceremony.
Site-specific installation at 3216 Eastern Avenue by Lexie Mountain. An ode to the shell. Decades of tenancy rebuilt into a new narrative of promise and decay. Images that no longer exist. Hours of painstaking archaeology to fill in the gaps. See yourself in it. A project of UMBC's Center for Art, Design and Visual Culture in conjunction with Highlandtown Arts & Entertainment District.
Through the placement of specific historical objects into the landscape and by throwing projections onto the terrain, I aim to illuminate representations of Australia from the past by bringing them into the present. The resulting works are hybridised landscapes that reveal the multiple historical paradigms informing our present-day relationship to country.
In the Bicentennial year of the settlement of Bathurst and the subsequent opening of the eastern interior of Australia to exploration, I will follow the early pathways journeyed,
stopping at significant locations to enact installations in the landscape. The region as a whole is richly represented in Australian historical collections, from explorers’ journals, to
drawings, prints and paintings. The English explorer Thomas Mitchell depicted these regions in his journals of discovery titled, ‘Three expeditions into the interior of Eastern
Australia, 1835’ from which the title of the project is borrowed. An antique mirror and descriptive text taken from journals will reflect and emerge from the terrain, resulting in truly
incongruous images that record in real time both past and present ideologies.
(Artist Statement, 2015)
Aus der Serie „Sommerfrische“
Site-specific Performance und Intervention
Josefsberg – Ötscher 2014
Fotografie und Installation
Performance: Andrea Nagl
Fotografie: Markus Wintersberger
Nagl ~ Wintersberger 2014 / 2015
(HGM 1641 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1000 Maezene" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Alexandrite" refers to a famous and desirable type of colored glass that Heisey produced, with neodymium oxide (Nd2O3) as the coloration agent. The color of the glass changes under different lighting conditions.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Alexandrite: 1929-1935. A dichromatic glass showing lavender with ruby tints under natural and incandescent light and a strange green-lavender under fluorescent light. Purportedly Heisey's most expensive production color.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
heiseymuseum.org/gallery/heisey-alexandrite/
and
www.20thcenturyglass.com/glass_encyclopedia/neodymium_glass/
2019-07-15: Dr. Mateus Magala, Chief Executive Officer of the Electricity of Mozambique signing 'country-specific memorandum of understanding for the implementation of the Lusophone Compact, which aims to accelerate the private sector development of Angola' during the Luanda International Fair.
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
Temporary site specific install at Bluffs beach park. Made from cardboard, paint, salt, dye, plaster, iodine, and talus. Summer 2012.
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
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.
Beta Actin Ab6276 (WB)
Specificity:Specific
Sensitivity:Sensitive
Sample:Mouse Fibroblast. Whole cell lysate
Buffer:TBST + 4% BSA
Dilution:1/25000
Full Review: 1dbio.org/qIu2J0
Haerim Lee
one-color monotype
12” x 9”
Trial Proof: 1
signed by the artist
copyright 2022
N.E.W. work # 22-101-a
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
20. - 22. September 2013
Jesuit College, Jicin.
Starting workshop of continuous program was focus on a source of light and the lighting source in Site-specific space.
Ongoing practice based site specific cross arts collaboration. Shot at a working industrial port in Poole, Dorset, with dancer choreographer Cathy Seago (Snr Lecturer, Winchester University). This work uses ideas of surface and breath to link the location with the dancer. It’s a sensorial, physical response to a very particular coastal environment. As with my earlier work, I take large, dramatic environments and focus in on smaller details, creating an intimate, close up encounter with a location. This closeness is interrupted using changes in rhythm and pace: alternating between faster paced movement, to meditative, quieter moments.
(HGM 4846 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1295 Beaded Swag" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations usually include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Opal" is Heisey's name for milk glass - whitish, opaque glass.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Opal: 1898-early 1900s. Commonly called milk glass. An opaque white glass. Heisey's exhibits a large amount of "fire" when held to the light.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
(HGM 1707 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"3405 Coyle" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Alexandrite" refers to a famous and desirable type of colored glass that Heisey produced, with neodymium oxide (Nd2O3) as the coloration agent. The color of the glass changes under different lighting conditions.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Alexandrite: 1929-1935. A dichromatic glass showing lavender with ruby tints under natural and incandescent light and a strange green-lavender under fluorescent light. Purportedly Heisey's most expensive production color.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
heiseymuseum.org/gallery/heisey-alexandrite/
and
www.20thcenturyglass.com/glass_encyclopedia/neodymium_glass/
Site-specific installation at 3216 Eastern Avenue by Lexie Mountain. An ode to the shell. Decades of tenancy rebuilt into a new narrative of promise and decay. Images that no longer exist. Hours of painstaking archaeology to fill in the gaps. See yourself in it. A project of UMBC's Center for Art, Design and Visual Culture in conjunction with Highlandtown Arts & Entertainment District.
At some point before Anja was born, we had this vague concept of dressing her gender-neutral (you know, like her mom likes to do ;-)
Specific place in Tel Aviv is a beach. People come there every day. They run along the sea, practise taichi, fly kites, surf on waves. Even on Sabbath is the beach crowded. Various people – orthodox and secular Jews – picnic there with their friends or families, dance folklore dances, having a rest and fun. Local citizens use to say: “Tel Aviv is a beautiful place because of its beaches and the sea”.
.
their acts. By naming names the report seeks to pierce the veil of anonymity and secrecy, which are crucial to the existence of impunity. Only when the specificity of each act of violation is uncovered can institutions be stopped from providing the violators the general cover of impunity. .
Under international criminal law, the concept of individual criminal responsibility is well established. From Nuremberg, to the United Nations ad hoc tribunals the International Criminal Tribunal for Rwanda, the International Criminal Tribunal for the Former Yugoslavia, to other tribunals and most recently the International Criminal Court [ICC], the focus of international law has gradually moved from laying the responsibility for crimes from the general the State to the individual44.This is not to suggest that the institutions and the State in general bear no responsibility. In fact, it is clear, particularly in Jammu and Kashmir, that it is the Indian State that fosters a climate of impunity. Further, as principles of command responsibility45 have been elaborated and evolved under international criminal law, along with other principles of individual criminal responsibility, such as joint criminal enterprise46, it is clear that the physical perpetrators of crimes own only a certain part of the final responsibility. This is particularly true in the case of organized structures such as the armed forces senior officers, and often the government, also bears responsibility. But, by focusing on individuals, the anonymity that protects the perpetrators of these crimes can be eroded. By naming alleged perpetrators specifically, the cover of the larger institution is no longer allowed to shield them, thereby allowing for greater transparency and accountability. To facilitate justice, the understanding of the specific is important to allow for a greater understanding of the general phenomenon. .
By highlighting the human rights violations in the specific cases in this report, the IPTK seeks to draw the attention of the international community, and its institutions, to the state of human rights in Jammu and Kashmir. While the IPTK remains mindful of the larger political critique of international law and the United Nations, it seeks to bring the atrocities to international attention particularly as no suitable mechanism exists domestically. .
The cases in this report clearly highlight the ineffectual domestic remedies in India in relation to human rights related cases in Jammu and Kashmir. The report of the Committee on Draft National Policy on Criminal Justice, Ministry of Home Affairs, May 2007, notes that in light of the creation of the ICC: .Our criminal justice system must be able to give better justice than what any international court can possibly offer under prevailing circumstances.. This is a clear reference to Article 17 of the International Criminal Court Statute that considers intervention when the State in question is unwilling or unable to genuinely investigate or prosecute. .
Reading the individual cases examined in this report, alongside judgments of the Indian Supreme Court, and other literature on the subject of human rights in Jammu and Kashmir, it is clear that there is an overwhelming unwillingness to genuinely investigate or prosecute the armed forces for human rights violations. There is on occasion a willingness to order compensatory relief, but not to bring the perpetrators to justice. Without adequate prosecution and the fixing of individual criminal responsibility, monetary compensation is at best a palliative and at worst a bribe to buy silence. More importantly, domestic processes of justice do not appear to have the capacity or willingness to consider violations within a conflict in light of the relevant international humanitarian law i.e. the Geneva Conventions, 1949 and the Additional Protocols, 1977, or international criminal law, as India has not legislated on crimes of Genocide, Crimes against Humanity and War Crimes. .
Domestic Indian law does not even criminalize .Enforced Disappearance. or .Torture.. Non-criminalization of Torture and Enforced Disappearance means that the Indian law is unable to proceed against perpetrators of such crimes, and people do not have the legal means to prosecute the perpetrators of such crimes. In the case of Torture the extant law has set the high threshold of "grievous bodily injury" whereby there is also no legal deterrence against such crimes. This read together with the Supreme Courts understanding of "good faith" brings out certain infirmities in the Indian law, which is unable to provide justice for victims of crimes committed by government forces. The unwillingness of the Indian State to address human rights issues in Jammu and Kashmir has been most recently displayed by the Government of Jammu and Kashmir Home Department submission on 13 August 2012 to the SHRC on action taken on the SHRC recommendations of 19 October 2011 regarding unmarked and mass graves in three districts of North Kashmir. This submission exhibits an unwillingness to correctly appreciate the concerns of its own State institution, the SHRC, and a purported inability to take any action. For example, on the question of conducting Deoxyribose Nucleic Acid [DNA] tests on the bodies in the graves, it is stated that with .only 15/16 recognized labs in the Government as well as in the Private Sector, in the entire country. a comprehensive process cannot be undertaken. Instead, a ludicrous and unique solution is put forward: a blood relation of the victim .should be in a position to indicate with fair amount of certainty the exact location of the graveyard and the grave which is now sought to be re-opened.. The unwillingness of the Indian State to critique itself therefore requires further attention from .
47 48.
the international community. The IPTK is mindful of the manner in which the brutalities in Nagaland, Manipur, Assamand Punjabhave been successfully brushed aside or dealt with by the Indian State. It is important that the victims of Jammu and Kashmir are not dealt with similarly. .
A Note on Scope, Methodology and Sources .
In the context of a conflict that has spanned about 22 years the IPTK does not consider this report to be a definitive or exhaustive list of alleged perpetrators. It merely seeks to begin a process of accountability. The cases chosen are those where the IPTK has received information. In a State where, as elaborated above, state institutions such as the police have proven ineffective, a majority of cases of violations have not been .
44See generally, Article 25, International Criminal Court Statute; Gerhard Werle, Individual Criminal Responsibility in Article 25 ICC Statute, Journal of International Criminal Justice 5 (2007), 953-975. 45See generally, Article 28, International Criminal Court Statute; Prosecutor v. Delalic et.al., Judgment, ICTY, Appeals Chamber, 20 February 2001, paras 186-.
199. .
46See generally: Prosecutor v. Tadic, Judgment, ICTY, Appeals Chamber, 15 July 1999, paras 188-229. .
47See: Times of India, 2 October 2012 which reports a public interest litigation filed in the Supreme Court on 1 October 2012 which claimed that 1528 fake .
encounters took place in Manipur since 1979. See also: the PUDR reports on Assam, Manipur and Nagaland which provide a wealth of information on what .
happens when governments order military suppression of a popular movement [www.pudr.org/content/reports-year-wise]. .
48See generally, Ram Narayan Kumar &Ors., Reduced to Ashes, The Insurgency and Human Rights in Punjab, Final Report: Volume One, South Asia Forum for .
Human Rights, May 2003. .
.
alleged Perpetrators 15 IPTK/APDP .
.
.
Making a name in a specific industry isn't simple, but you don't have to be the top professional to succeed.
Specific caption not available.
Summary: Khadar Muhumad Khaliz. Earth dams are a large surface-water storage structure, constructed across a drainage channel. A water pan is constructed by excavating the reservoir on a flat sloping landscape. This project is managed by the water committee in Dilla, the community members used to take 4 hrs one way to fetch water, now they take 30 mins to 1 hr. The project benefits 2500 families (2500 X 5 people/ HH).This project is tied up with the food for asset project, in which the community would build water points next to the reservoir for livestock. The water is available for approximately 1000 heads of camel and cattle and domestic use. **Photos provided by WV Hong Kong
Africa
The tickets they gave out at the "generalist" tables at Antiques Roadshow. After waiting in line for 2 hours, we all had to stop at the generalist tables, show them our stuff and let them decide which category it fit. We were then given tickets for those categories and shown into the appraisal hall.
specific descriptions forthcoming.
Jepson Herbarium "Fifty Plant Families in the Field" April 26-29, 2012.
dSatellite is a site-specific architectural structure that extends the mission of DFLUX (www.dflux.org), a Detroit-based research studio and residency program, further into its community. DFLUX engages its local neighborhood and the general public with creative actions, research, and workshops. In so doing, they hope to reveal and create emergent and sustainable cottage industries. dSatellite was created with the intention of providing future DFLUX participants and local residents with an outpost to engage in various field research. Constructed with foraged building materials, dSatellite merges both the physical and conceptual characteristics of the DFLUX Residency site and a typical nature blind used by naturalists, scientists, photographers and hunters. dSatellite is currently deployed in a completely razed residential neighborhood of Detroit currently referred to as the "field" by local residents and "Renaissance Zone" by real estate developers. A dense urban forest, rich with wildlife, has grown there, only crumbling roads and alleys, debris piles, and public utilities remain as signs of past use.
dSatellite was created during a research residency at DFLUX in Detroit, MI in collaboration with Joseph G. Cruz (http://josephgcruz.com)