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“Conjunto Pinacoteca”, 2010
instalação, dimensões variadas, barra chata e fita adesiva.
Pinacoteca Barão de Santo Ângelo, Porto Alegre/RS
(HGM 1264 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"4203 Emogene" 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
Aus der Serie „Sommerfrische“
Site-specific Performance und Intervention
St. Corona - Wechsel 2015
Fotografie und Installation
Performance: Andrea Nagl
Fotografie: Markus Wintersberger
Nagl ~ Wintersberger 2014 / 2015
Tabletop exercises (TTEs) are used to test specific elements of an on-site inspection (OSI), to obtain lessons for the further development of the OSI regime, to train individuals in different task-oriented aspects and surrogate inspectors in aspects such as negotiation techniques. The December 2023 TTE on the senior management responsibilities during an OSI aimed to prepare PTS senior management for their involvement in the upcoming Build-up Exercise in 2024 (BUE24) and Integrated Field Exercise in 2025 (IFE25). The TTE also reinforced organization-wide efforts for future OSI response preparedness.
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
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
Treptow. Aus der Serie „DRAF (Deutsch russisch amerikanische Freundschaft)“
Site-specific Performance und Intervention
Sowjetisches Ehrenmal im Treptower Park, Berlin 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
Foto © Andrea Anghileri
pubblicazione realizzata da Temporary Black Space, in collaborazione con xontemporary locus 2 e Steve Piccolo
Treptow. Aus der Serie „DRAF (Deutsch russisch amerikanische Freundschaft)“
Site-specific Performance und Intervention
Sowjetisches Ehrenmal im Treptower Park, Berlin 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
“Conjunto Pinacoteca”, 2010
instalação, dimensões variadas, barra chata e fita adesiva.
Pinacoteca Barão de Santo Ângelo, Porto Alegre/RS
(HGM 2012.29.15 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"3362 Charter Oak" 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
There is a specific risk related to the use on the field of collection vintage camera's that is the condition of old leather of ever-ready bag and the neck strap. The aged leather may not support the weight of the camera, especially for medium-format ones. If they crack, the camera would be inevitably dropped and severely damaged.
My Rolleiflex 3.5F (see below for the details) came with a nice set of original accessories. The neck strap is the original one, almost 70-year old. The connectors are fully specific to the Rolleiflex (sometime called "crocodile" connectors) and of a remarkable engineering.
I ordered from China, a brand-new remake (Cam-in), nicely constructed in exactly the same size and concept made of plain solid leather.and accurate reproduction of the "crocodile" connectors that fit, as easy as the original ones, to the Rolleiflex body or the ever-ready bag.
I received as well the small E10 light bulbs (6V, 0.05A) for the Rolleiflash to replace the control light. I sourced too the 22.5V carbon-zinc battery for energizing the flash.
March 24, 2025
69004 Lyon
France
Pictures were done using a smartphone Vivio Y76 and were edited in the latest version of Adobe Lightroom Classic 14.2 befor being produced either as frames printing JPEG files or classical normal JPEG’s.
About the camera :
I got this stunning Rolleiflex 3.5F from a French artist near Paris, France. The camera came in it original box and leather bag with accessories and a reference book year 1955. The whole kit is in an exceptional state of conservation.
The Rolleiflex 3.5F is the model-3, or "K4F",that Rollei-Werke Franke & Heidecke produced in 50.000 units in Germany from Nov.1960 to Dec. 1964. The Rolleiflex originates from 1928 for the very first model and was produced still in a limited number until the years 2000’s. The 3.5F model 3 was available etheir with a Schneider-Kreuznak Xenotar taking lens or the Call Zeiss Planar 1:3.5 f=75mm as this camera. The Rolleiflex, that was a quality reference for many professional photographers in the 50’s for the medium-format 6X6 camera’s. Many worked both with the Leica M3 (starting from 1954) as small-format 24x36mm camera and the Rolleiflex for other appliances. The Rolleiflex remained one of the most iconic and trusted camera of all the times.
This specific 3.5F is labelled on the right side with nice badge made of enameled brass « T » « Telos » that was the exclusive first French importer of Rollei to France until 1972.
The Rolleiflex 3,5 F model 3 is equipped with the Synchro-Compur central shutter MXV CR00 with cone-wheel differential. The distance scale is only in meters here with automatic DOF indication.
Serial number with ‘3,5F’ prefix on of top name shield.
I detailed the camera and accessories and studied carefully the user manual and the book to before familiar this beauty before waiting for a quiet moment to prepare for a test film. I will not trust the old leather original neck strap to carry this precious machine on the field to avoid the real risk to drop the camera. I ordered a new one from a manufacturer in China. While waiting I will use my modern Peak-Design Leach safe strap .
The funny decorating boxes used for storing my kit were purchased from a local department store Monoprix.
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
The 'don't crap on the pavement' signs seem pretty specific on the breed. Just up the road from the sign is a window sticker. I wonder if the dog has dietry problems?
(HGM 1812 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"2351 Newton" 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
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)
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
“Conjunto Pinacoteca”, 2010
instalação, dimensões variadas, barra chata e fita adesiva.
Pinacoteca Barão de Santo Ângelo, Porto Alegre/RS
this specific whale seems to be a re-occuring visitor in the river she has been named Snow White (because of the fully whilte underside tail)
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
Smart Goals specific, measurable, attainable, relevant, time bound all on sticky notes on a chalkboard.
The names used in this article to refer to specific New Zealand Chinese are those names commonly used by the authorities and Europeans when dealing with or discussing these people. Almost invariably they bear little or no resemblance to the persons true name or for that matter their literal translation.
As a rule the New Zealand Chinese when amongst themselves used their true names. Regrettably in the case of the Arrow Chinese the true names have been lost. They often grubstaked miners, and provided Chinese foods and medicines, mail and letter writing facilities, links with the European community, and even unofficial banking facilities.
Lodging was also provided in at least two of the Arrowtown stores, along with facilities for gambling and opium smoking. Wong Yow's store was situated at the junction of the main street and Villiers Street, while Su Sing's was by the banks of Bush Creek. Nothing remains of either. Only the store and timber store operated in later years by Ah Lumb still stands.
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)
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)
(c) 2005 - 2010 Michael Kuentz Photography [Logic Media LLC]
Chosen Images from specific client model portfolios
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.