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Statement
The name of the series photos assignment is “Phone Home”. The people in the photos are all international students of OSU just like me. Some of them are in Columbus for several years, and others only stay for several months. However, to every international student, the phone is of the same importance because it is the most convenient way to contect our famillies. When I took these photos, my friends happened to call their faraway home. Sometimes, they just want to say hello to their moms and dads; and sometimes, they have lots of things on their hearts that they want to tell. But no matter how serious the things happened to them, they always say it very calmly and they do not want their parents to worry about them. In other words, even though their parents are worried about them, they could not do anything since the far distance between them. However, my friends still want to tell many things to their parents because maybe the most important thing is not their parents’ helps but their supports and understanding, which are the most significant things that the “Phone Home” could bring us. When we laugh we use phone; when we depressed we use phone; when we cry we use phone; when we want to listen to the voice from hometown we use phone…That is the idea from the “Phone Home”.
Qingge Gao(Hermione)
Original Statement of Royalties by Elan Records to INECI Recordings for Soulis when it was licensed by ROI in Europe for remixes and the European re-release.
Der schmale Grat zwischen Wahrheit und Lüge ist in der Rechtsprechung von sehr folgenreicher Bedeutung. Frau Ass. Prof. Mag. Dr. Eleonora Hübner, beleuchtet, wie es Richterinnen und Richter
gelingt, die Wahrheitzu erforschen. Dass dabei die Psychologie eine große Rolle spielt, zeigt sich u.a.
schon im Gerichtsaal.
Foto: Simon P. Haigermoser
Why Outsource Bank Statement Reconciliation?
cogneesolblog.wordpress.com/2016/03/10/why-outsource-bank...
I like the multiplicity and exactitude of the holes, we have the Piddock theorizing Arakawa and Gins, and the transference of physical data from other sources, templates, iterations and minor gestures moving the whole ecology to a future space as get unknowable.
My practice begins with making as a form of thinking. Working primarily with clay and ceramic processes, I develop sculptural forms through an iterative dialogue between material resistance, bodily action, spatial perception, and conceptual speculation. I am interested in the point at which ceramic craft exceeds the category of the object and begins to operate architecturally: as a structure, a spatial apparatus, a surface, a threshold, or a proposition for inhabitation.
My ceramic works are often constructed through slabs, perforations, drilled apertures, grids, diagrammatic lines, and heavily worked surfaces. These processes produce forms that appear simultaneously structural and unstable—architectural bodies marked by weathering, abrasion, paint, and accumulated gesture. The surfaces become records of material encounter: intensified sites where the distinction between construction and erosion, control and excess, form and deformation begins to dissolve.
Clay offers a particular meditation on material endurance. Fired, fractured, altered, and reassembled, it carries an inherent tension between vulnerability and survival. I am interested in this condition of the ceramic body as something that persists through transformation. The work emerges through a process of continual adjustment in which making becomes a form of perceptual monitoring: a material conversation in which existing matter is repeatedly combined, altered, and reorganised into new configurations.
This approach extends into a broader site-based and transdisciplinary practice concerned with the production of spatial knowledge. I construct environments, installations, and sculptural assemblages that bring craft into dialogue with architecture, theory, drawing, social space, and the everyday rituals of inhabitation. These works function as spatial apparatuses: provisional structures through which bodies, materials, ideas, and environments encounter one another.
My research is informed by diffractive and processual modes of thinking. Rather than treating theory as an external framework applied to practice, I understand ideas as becoming materially active through the processes of making, inhabiting, observing, and responding. The studio therefore operates less as a retreat than as an expanded field of relations—an environment that is continuously opened onto the world.
I am interested in creating situations in which craft, art, architecture, and theory can coexist without resolving into a single disciplinary position. Through situated making, speculative learning, and iterative research, I develop compositions and environments that explore inhabiting, embodying, fictioning, and folding as spatial and material operations.
@ the new bus station, Aberdeen.
Was out for a walk today and saw the wall of statements posters were up already. Officially opens on Tuesday. You'd defiantly need to go and have a look at them in person.
"Open Access ermöglicht einen Wissenstransfer in Richtung Politik und Zivilgesellschaft."
UB TU Berlin / Foto: Kay Herschelmann / Satz: Benjamin Mossop / Alle Rechte vorbehalten
Vollständiges Interview: blogs.ub.tu-berlin.de/publizieren/2024/10/open-access-ermoglicht-einen-wissenstransfer...
@ St Catherine's Wynd, Aberdeen.
My Poster!
Was out for a walk today and saw the wall of statements posters were up already. Officially opens on Tuesday. You'd defiantly need to go and have a look at them in person.