View allAll Photos Tagged specific
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.
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.
(HGM 950.1-5 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"3404 Spanish" 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.
"Cobalt" refers to a type of colored glass that Heisey produced. It is also known as "Stiegel Blue".
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):
Stiegel Blue: 1932-1941. Commonly called cobalt blue. Heisey's has exceptionally good 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
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.
The specific name cynosura is a Greek name for the Pole Star, more frequently called Polaris. Cynosura means tail of the dog. More broadly, cynosure means something that strongly attracts attention or guides. Perhaps something on this dragonfly resembles a dog's tail.
Adults dragonflies are between 36-44 mm. Identification of this species, is tricky. Some individuals have large basal spot on hindwings, like Mantled Baskettail, E. semiaquea, but spot does not extend to hindwing. Clear-winged form of Common Baskettail may be indistinguishable in the field from E. costalis and E. spinigera. With some exceptions, Epitheca can be a difficult genus to work with in the field in terms of identifying species, but given this individuals markings and the range of the various members of the genus, E. cynosura is the most likely identification.
Found throughout eastern North America at lakes, ponds, marshes, and slow-moving rivers. One of the first dragonflies of spring. May fly as early as January in southeastern states. Flight extends to August, but most are about in spring, flight usually lasting about five weeks. May to August in Canada. Additional fall flight in Florida.
Predatory on other insects as all dragonflies are. May feed in swarms on such prey as winged termites.
Males patrol a patch of shoreline, about 3-10 meters long (as this individual did). Peak patrolling is in late afternoon.
Site-specific installation (pom-poms, fishing line) at Vitrine 01 at U-Bahnhof Birkenstraße, Berlin.
FIGHT SPECIFIC ISOLA Mural y documentos. 2014 BERT THEIS + ISOLA ART CENTER Milano, Italia.
No hace mucho tiempo, Isola era un antiguo barrio industrial y "pulmón verde" en una zona céntrica de Milán. Una de esas antiguas áreas donde conviven parques y jardines junto a viejas fábricas y galpones industriales. El barrio está ubicado muy cerca de la estación central de trenes, y con el paso del tiempo la población ha crecido debido a la migración hasta convertirse en un centro de diversidad multicultural donde conviven trabajadores con gente de clase media, artesanos, comerciantes, artistas e intelectuales (y por supuesto, también algunos criminales…). Isola, que significa isla en italiano, ha venido viviendo desde los últimos 20 años un desarrollo urbano basado en intereses comerciales y especulación inmobiliaria, emprendimientos que obviamente tenían poco interés por las necesidades reales del barrio y de la comunidad local.
Buscando dar respuesta al salvaje proceso de gentrificación, artistas, curadores, filósofos y activistas de Milán -y distintas partes el mundo- decidieron crear un espacio para experimentar estrategias innovadoras como una forma de resistencia a la transformación urbana, regenerando el tejido social y promoviendo una cultura alternativa.
Durante los últimos diez años Isola Art Center funcionó como una plataforma experimental abierta para el arte contemporáneo con sede en el barrio. Sus proyectos auto gestionados y "sin presupuesto” se sostuvieron gracias a la energía, el entusiasmo y la solidaridad, de vecinos, activistas y artistas que ensayaron el uso de nuevos términos como ´cubo sucio´ (en oposición al White Cube), “Centro Disperso” y “Fight Specific” (parodiando el site-specific).
Sin embargo la lucha cultural de Isola Art Center no impidió (por desgracia) que el gobierno de la ciudad de Milán realizara la demolición de su centro cultural ubicados en la “Stecca degli Artigiani" para la construcción de un inmenso rascacielos, apropiándose también de toda el área verde y los parques de los alrededores.
En la exposición presentamos “Degradazione, Speculazione, Demolizione” una obra ready-made de un mural un mural pintado los muros del el barrio de Isola durante los años 80, junto a la imagen original y un libro que documemta la experiencia llevad adelante por los artistas intentando responder a la presión constante del desarrollo neoliberal y la gentrificación.
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.
Haerim Lee
one-color monotype
12” x 9”
Trial Proof: 1
signed by the artist
copyright 2022
N.E.W. work # 22-101-a
(HGM 2014.70.2, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1184 Yeoman" 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.
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):
Hawthorne: 1927 only. Replaced by Alexandrite. A light purple or lavender shade. Varies quite a lot in tone. Apparently the company had trouble controlling the color, possibly due to their inability to control the flamingo color base.
-----------------------------------
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 5730 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1252 Twist" 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.
"Marigold" refers to a type of colored glass that Heisey made - in this case, yellowish. One of the ingredients in Heisey's Marigold glass was "sodium uranite", a radioactive sodium-uranium oxide compound.
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):
Marigold: 1927-1928. A brassy, greenish yellow color, very like the marigold flower. A rather unstable glass that sometimes deteriorates. Because of production problems, it was eventually replaced by Sahara.
-----------------------------------
From museum signage:
Marigold
1929-1930
Crazing and breakage is common in pieces of Marigold because of deterioration due to an unstable glass compound.
-----------------------------------
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
Location: Guangzhou
Specific Location: Shamian Island
It's been a while since I've seen a Starbucks ever since I traveled to Taiwan. So I finally saw a Starbucks on Shamian Island and decided to have a cup of coffee to cool myself down. The weather outside is like a sauna. It's not recommended for anyone to travel to China in August!
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
(HGM 2010.33.1 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1401 Empress" 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.
"Tangerine" refers to a type of colored glass that Heisey made - in this case, orangish to orangish-red.
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):
Tangerine: 1932-1935. An orange glass. The glass was struck (reheated) to produce deepening color. Because of this, tangerine can look orange and sometimes almost red. Pressed pieces can exhibit an amberina-type coloration. While oral history indicates this was developed by Olson himself, his records indicate he did get some help!
-----------------------------------
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
I found this on my way back after jummah. I looked around but didn't see any children, let alone "that" child.
(HGM 2285.7 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"3404 Spanish" 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.
"Tangerine" refers to a type of colored glass that Heisey made - in this case, orangish to orangish-red.
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):
Tangerine: 1932-1935. An orange glass. The glass was struck (reheated) to produce deepening color. Because of this, tangerine can look orange and sometimes almost red. Pressed pieces can exhibit an amberina-type coloration. While oral history indicates this was developed by Olson himself, his records indicate he did get some help!
-----------------------------------
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 1699 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"359 Colonial" 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/
I was going for something specific, but then after I snapped off a few shots, I had stuff happen that got me busy and I just never got back to trying the specific thing again. And I have a business meeting (in a half hour from typing this, actually)...
So, here's my big ol' head again. I was down to two photos and this one was in sharper focus. I was going to go black and white, but I like the color of my eyes in this shot.
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
by Lola Lemire Tostevin.
Toronto, Mercury Press, [1 october 2oo3] states 2oo4.
ISBN 1-55128-1o8-2.
5-15/16 x 8-15/16, 48 sheets white bond perfectbound in matte PVC white card wrappers, all except inside covers & 16 pp printed back offset with 3 colour process additions to covers.
cover by Gord Robertson.
includes:
i) ENCRE DE CHINE (pp.21-29; poem in 6 parts incudes part
–6. "for Kim O. (pp.28-29; 3o lines, lines 2o-25 referencing a memorial sumac stand planted for bpNichol by Kim Ondaatje))
ii) JAR DIN (pp.75-87; poem in 11 parts, title quoting the text of Nichol's Catching Frogs, includes part
–5. "This is the kind of afternoon it is. (p.81; 11 lines, lines 3-4 referencing "What another writer once referred to as the jar din."))
(HGM 2004.37.10 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1280 Winged Scroll" 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
site-specific installation
exploring memory and culture
Fusion International Center for the Arts
July 2013
materials: found objects, television and photographs
Mitsubishi Lancer Evolution followers will not be able to get their hands on a new Lancer Evolution for much longer, given that 2015 will be its final 12 months.With the Lancer Evolution’s days numbered, it truly is being reported that a restricted Specific Action Model will be released...
www.autoblogvia.com/reviews/mitsubishi-to-say-goodbye-to-...
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.
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)
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)
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.
This specific journal was never up for sale on Etsy. It was made as a gift for one of my baby sisters. However, I do plan to make a duplicate of it to sell in the very near future. This one was 8.5"x5.5" and contained 100 sheets of lined 65lb acid and lignin free card stock. It was a very hefty journal that was comfortable to hold, and as it was coptic bound, laid flat to make writing easier.
This image is from Suburban Bird Studios' Etsy shop and is © Carly "Birdie" Tuma 2011.
(HGM 5737 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1229 Octagon" 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.
"Marigold" refers to a type of colored glass that Heisey made - in this case, yellowish. One of the ingredients in Heisey's Marigold glass was "sodium uranite", a radioactive sodium-uranium oxide compound.
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):
Marigold: 1927-1928. A brassy, greenish yellow color, very like the marigold flower. A rather unstable glass that sometimes deteriorates. Because of production problems, it was eventually replaced by Sahara.
-----------------------------------
From museum signage:
Marigold
1929-1930
Crazing and breakage is common in pieces of Marigold because of deterioration due to an unstable glass compound.
-----------------------------------
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
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTERA 2024: ROMA, Il FORO ROMANO - I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l'Arco di Settimio Severo tra fine 2023 e inizio 2024; in: Michele Gigante & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024) & E aggiornamento - "Digitalizzazione e software di analisi per l'area del Lapis Niger"; in: Visivalab (2012-15 [2020-24]); S.v., ROMA -"Via Sacra presso la Basilica di Massenzio"; Video & Foto; in: Visivalab (2015-16 [2020-24]). Anche: S.v., Giacomo Boni; in: L’Ill. Ital., & La Tribuna Illustrata (1899 bis 1907). wp.me/pbMWvy-4HO
***
Nota: tutte le fotografie presenti in questo post del blog e la raccolta di album Flickr di accompagnamento sono citate dalla seguente fonte se non diversamente specificato =
Note: all the photographs in this blog posting and the accompanying Flickr album collection are cited from the following source unless specified as other =
Fonte / source:
— ROMA – ‘Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
***
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024); e altre fonti contemporanee e storiche correlate come citate di seguito (18/02/2024).
www.flickr.com/photos/imperial_fora_of_rome/53537733848
Foto: ROMA – Il Foro Romano – Veduta del Foro e del vicino quartiere Alessandrino [a sinistra = i sottostanti ruderi della Basilica Emilia, i Fori di Nerva e della Pace] guardando dal Campidoglio. Foto: data = fine 1850 o inizio 1860? {in RARA 20204 / ROMA [02/2024]) e una vista dei lunghi scavi presso il Lapis Niger nel Foro Romano, fine 2023.
www.flickr.com/photos/imperial_fora_of_rome/53537870839
1). ROMA - Foro Romano - i nuovi scavi e lavori di restauro tra il “Lapis Niger” e l'Arco di Settimio Severo tra fine 2023 e inizio 2024; in:
Michele Gigante & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (Da dicembre 2023 a febbraio 2024).
Foto: RARA 2024 / ROMA – “Roma. Vista aerea dell’area archeologica: il Foro Romano (foto a sinistra 1899, foto a destra 2009).” Fonte – “Roma ieri, Roma oggi di Alvaro de Alvariis (11/2010 & Google Earth 2009).”
www.flickr.com/photos/imperial_fora_of_rome/53537870224
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536554584
Foto: RARA 2024 / ROMA – Giacomo Boni & Il Foro Romano; in: L’Illustrazione Italiana, No. 28 (09/07/1899): 26 [articolo disponibile nel testo completo]; in:
— Myriam Pilutti Namer, “NOTES ON SOME UNPUBLISHED FIELDWORK REPORTS WRITTEN BY GIACOMO BONI FOR GUIDO BACCELLI IN 1899.” History of Classical Scholarship. No 3., (24/08/2021): 1-30 (in PDF). Anche: G. Boni; in: ‘L’Illustrazione Italiana 1899-1900 (testo completo). S.v., Dr. Romolo Artioli & Prof. Thomas Ashby, jr (1906 bis 1912) [in PDF]. wp.me/pbMWvy-20h
www.flickr.com/photos/imperial_fora_of_rome/53537859269
Foto: ROMA – Eva Carballo Gonzalez, “Il Foro Romano” / Fb (17/02/2024).
www.flickr.com/photos/imperial_fora_of_rome/53535353077
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53535358992
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53535354507
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536418868
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53535354452
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536659415
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536418793
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536418828
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536418818
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536232491
Fonte / source / foto & video:
--- Michele Gigante & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (Da dicembre 2023 a febbraio 2024)
www.facebook.com/neirestauro/?locale=it_IT
Fonte / source / foto:
--- Eva Carballo Gonzalez, "Il Foro Romano" / Fb (17/02/2024).
www.facebook.com/eva.carballogonzalez
--- Link alla collezione completa di Roma - "Il Foro Romano & Lapis Niger” (2023-24) = foto e articoli di notizie (da 1 a 87) (02/2024).
www.flickr.com/photos/imperial_fora_of_rome/albums/721777...
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536566269
2). ROMA - Foro Romano - i nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: "Digitalizzazione e software di analisi per l'area del Lapis Niger"; in: Visivalab (2012-15 [2020-24]).
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536243101
Il Lapis Niger, scoperto da Giacomo Boni nel XIX secolo, è una delle poche parti sopravvissute nell’area del Comizio, luogo che precedeva il Foro, sede di di assemblee e di un culto religioso probabilmente risalente al VIII secolo a.C.. Sotto quest’area venne rinvenuto un altare con il celebre cippo inciso da una delle iscrizioni latine più antiche mai conservate.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536566264
Con la direzione della Soprintendenza, e affiancati da un team multidisciplinare, Visivalab ha preso parte al progetto di ricerca scientifica trasversale dell’area. Gli obiettivi hanno riguardato lo studio della documentazione storica precedente, l’acquisizione digitale dell’area del Comizio, del Lapis Niger e dell’iscrizione stessa, con la finalità di preservare i reperti in tutte le loro fasi. E’ stato inoltre sviluppato un software online in grado di elaborare le informazioni, convertitosi poi in nuovo strumento di interpretazione degli scavi e del contesto del Foro Romano.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536429253
CLIENTE Soprintendenza per il Colosseo e l’area archeologica centrale di Roma [oggi = “Parco Colosseo”] / ANNO 2012-2015.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536243096
Progetto - La metodologia applicata nel progetto ha coinvolto diversi approcci e fasi. Si è iniziato con un minuzioso studio della documentazione storica relativa al Lapis Niger e al Comitium. Successivamente, è stata effettuata la digitalizzazione dell’area e dei reperti utilizzando tecnologie di acquisizione digitale all’avanguardia.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53535365077
I dati raccolti sono stati analizzati attentamente e confrontati con l’archivio storico. Allo stesso tempo, è stata progettata una piattaforma che consente la segmentazione e l’organizzazione dei dati grezzi in infinite possibilità, fornendo così una vasta base di dati per il lavoro attuale e per future ricerche.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536670155
REINTERPRETAZIONE DELLA DOCUMENTAZIONE STORICA - Prima dell’inizio di questo progetto era disponibile una quantità significativa di materiale proveniente dagli scavi Boni e Romanelli, già digitalizzato presso il Palazzo Altemps tramite ARCHEOLECTIO.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536244081
Questa documentazione doveva però essere esaminata e reinterpretata per fornire contesto storico e topografico ai reperti. Questo studio era essenziale per garantire una sicura acquisizione digitale e consentire un confronto tra i rilevamenti digitali e i dati storici. Inoltre, ha permesso di texturizzare i modelli tridimensionali estratti.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536430053
Fonte / source / video & foto:
--- ROMA - "Digitalizzazione e software di analisi per l'area del Lapis Niger"; in: Visivalab (2012-15 [2020-24]).
visivalab.com/it/portfolio-item/digitalizzazione-lapis-ni... & vimeo.com/91271071
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536427548
2.1). ROMA - Foro Romano - "Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio"; Video & Foto; in: Visivalab (2015-16 [2020-24]).
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53537966185
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536667620
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536428383
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536668470
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536668465
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53535364147
Fonte / source video & foto:
--- Visivalab (2012-15 [2020-24]).
Foto: RARA 2024 / ROMA – Il Foro Romano – Antonio Porretta, “La polemica sul lapis niger”, AMCE – Annali della Facolta / Universita` degli Studi di Milano, Vol. LVIII | Fascicolo III – Sett. | Dec. Milino (2005): 79-106 [in PDF].
3). RARA 2024 / ROMA - Il Foro Romano - Antonio Porretta, “la polemica sul lapis niger”, AMCE – Annali della Facolta` Lettere e Lilosofia dell` Universita` degli Studi di Milano, Vol. LVIII | Fascicolo III – Sett. | Dec. Milino (2005): 79-106 [in PDF].
Fonte / source:
--- Antonio Porretta; in: Universita` degli Studi di Milano, Vol. LVIII | Fascicolo III – Sett. | Dec. Milano (2005): 79-106 [in PDF].
FOTO: RARA 2024 / ROMA -“Giacomo Boni & Gli Scavi Al Foro Romano”; in: La Tribuna Illustrata, No. 44 (02/11/1902): 525-527 [articolo disponibile nel testo completo]. S.v., Dott. Romolo Artioli / L’illustrazione Italiana (25 Ottobre 1908): 396-398 & Dr. R. Artioli & Prof. Thomas Ashby, jr (1906 bis 1912). wp.me/pbMWvy-1za
www.flickr.com/photos/imperial_fora_of_rome/51751355990
3.1). RARA 2024 / ROMA - Architetto Restauratore e Archeologo “Giacomo Boni: Pioniere del metodo stratigrafico – Al Foro Romano e Palatino una mostra per il precursore dell’archeologia moderna, scopritore del Lapis Niger e primo a usare l’aerofotografia.” Parco Colosseo [Italiano / English] & Il Giornale Dell’ Arte (15/12/2021). S.v., Giacomo Boni; in: L’Ill. Ital., & La Tribuna Illustrata (1899 bis 1907) & Romolo Artioli, IL SECOLO XX (10/1905): 855-862. wp.me/pbMWvy-2ix
FOTO: Giacomo Boni, “Fango-Fango-Fango”; Il Foro Romano, tombe sotto la base del Equus Domitiani & Lettera a Frank Tenney; in: Rivista d’Italia e d’America 3.15 (1925) 22-25 [in PDF].
www.flickr.com/photos/imperial_fora_of_rome/50736055382
4). RARA / 2024 / ROMA - Giacomo Boni, “Fango-Fango-Fango”; Il Foro Romano, tombe sotto la base del Equus Domitiani & Lettera a Frank Tenney; in: Rivista d’Italia e d’America 3.15 (1925) 22-25 [in PDF]. S.v., Giacomo Boni – Nuova ricerca archivistica (2016-20). wp.me/pbMWvy-Sh
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)