Street Talks

Varous Artists

Wednesday 6 - Friday 8 November, Check listing for times

Various Locations

Various Locations

Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.

Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens

Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.

Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.

Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps

Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.

Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.

Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance

Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.

The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.

Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.

About the Artists

Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.

Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.

Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.

Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.

Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.

Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.

Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.

Photography Kathryn Rattray

via Instagram W H A T E V E R I T T A K E S The historical neighborhoods are defined by small, tightly enclosed shops, living little room for expansion in older enclaves. Pictured here is a repair man working out on the crowded streets. As the times change, the vision of decades past couldn't predict the needs of a society of the future. The dramatic influx of refugees, the battle for demographic superiority over the indigenous #Palestinian population has led for a massive development plan on the lands #Palestinians from #EastJerusalem and across the #WestBank. #TAKE_ACTION Your tangible contribution is act of justice and hope. Be the change in the world. Make a difference, click here: bit.ly/Pics_For_Peace #Jerusalem #StreetPhotograpy #israelioccupation #freepalestine #peace #love #apartheid #israel #الخليل #المقاومة #فلسطين #الاحتلال #שלום #אהבה #צדק #ירושלים #חברון #פלסטין #الحرية

The night before this photo was made, my physical pain became a building block of faith, as I personally experienced total restoration through a touch from the hand of God. I had never before witnessed or experienced anything so tangible as divine healing despite years of personal faith, but God demonstrated his immeasurable power and love towards me in an instant, as my back was supernaturally healed. I have been disabled for over 18 months, sometimes barely able to get out of bed or care for myself or my cats. I have been in agonizing pain for most of the time, and spent thousands of dollars for physical therapy, chiropractic care and medications. I believed in miracles and healings, but those things always happen to other people, not me. A few weeks ago, in the grips of pain, I bought a plane ticket to go to New Orleans for a week to help with disaster relief at the end of April. I was compelled in my heart to go, believing that somehow, God would make me able to work. But impatiently, I had given up on praying for healing of my back following so many fruitless months, as just about everyone I know has prayed for my back a dozen times in the last year. But, Friday night, as I confessed to God that I was being unfair to Him, putting Him in a box and restricting His ability to act because of my limited understanding and my personal experiences, He acted. God is so much BIGGER than I can know, and it was so faithless of me to fail to believe He really is who He says He is, and able to do anything He wants to do. Suddenly, a warm and comforting physical feeling washed over my body and my back simply stopped hurting. Unable to express with words what I was experiencing, I said nothing to the two ladies in the room who had been praying with me, except for my statement to them saying "That was powerful!". They had no understanding of what had happened until the next day when I told them what God had done for me. That day, I went hiking in the hilly forest around the lake we were at, and after that I actually went rock/wall climbing in an indoor gym. I can't explain it even now, and people look at me like I am nuts when I try to do it, as I am sure many people will believe about me when they read this caption, but I cannot deny or even hide what God has done for me, whether it lasts another week, a month, a year, or the rest of my life. Its so surreal, and almost like the stuff of a science fiction movie, but it is true. And I am walking and climbing stairs and putting on my own socks with a huge smile every day now, and I can't be silent about how WONDERFUL this is! I feel like I have been beamed into a different body, and made 20 years younger! It is the most incredible experience, and something I hope all who hurt can find one day. I did nothing to deserve this gift, but I will do everything to show my appreciation for it. I don't care who thinks I am crazy, or who believes me or not. I just have to share it! And I get the chance to make a real difference in someone's life next week when I go to New Orleans to do physical labor for someone in need. How perfect is that? And how perfect is our awesome and loving God? *** Update: May 15, 2007, My back is still going strong, and the trip to New Orleans was spectacular! *** Update: April 2008, One year now, and still feeling great! God is so awesome!

[Translation from most of the marker - I'll do the image captions later]

Arakawa Ward Registered Tangible Culture Property (Historical Record)

Brick Wall from the Old Senju Textile Mill

This brick wall formed the eastern side of the grounds of the Senju Textile Mill, a state-run factory founded in Meiji 12 (1879). There are also lengths of the original wall on the north side (9.9 meters) and south side (8.4 meters), as well as one of the pillars of the main gate, which is now surrounded by bollards for protection. Construction of the wall is estimated at between Meiji 44 (1911) and Taisho 3 (1914).

The Senju Textile Mill facilities, also called the Rasha-jo ['rasha' (ラシャ or 羅紗) comes from the Portuguese 'raxa', meaning felt cloth] were provided to enable domestic production of wool cloth for military uniforms, in keeping with the government's policies of encouraging industry, wealth and military strength. The purpose of the factory was not only to produce military uniforms, but also to introduce the wool textile technologies to private companies. The first director was Seizo Inoue, who studied textile production techniques in Germany [Inoue was a noble and member the Choshu Clan (Wikipedia Japan describes him as a former samurai)]. A bust of Inoue has been preserved on the western side next to the Arakawa Sports Center.

Although the factory was originally built by the Arakawa River (now the Sumida River), it was steadily expanded into the surrounding farmland. By the Taisho era, it covered an area of 32,406 sq. meters. The original site covered the area now occupied by the southern end of the Senju Kando road, the Arakawa Sports Center, the Minami Senju Baseball Grounds, a municipally-owned apartment, the Minami Senju police station, the Arakawa Municipal Technical High School, and the #2 branch of the Eastern Bureau of the Tokyo Municipal Waterworks Office.

The construction of the factory had a major impact on the modernization of the surrounding Minami Senju area. During the Meiji era, large factories were built nearby, including 2 mills built in the Shioiri neighborhood (now Minami Senju 8-chome) and a gas company near Ishihama Shrine (now Minami Senju 3-chome) [the gas company, now Tokyo Gas, is still there, along with its distinctive gas tanks]. With the addition of the Sumidagawa Station freight yard, Minami Senju was transformed into a commercial and industrial town. Following the war, management of the factory passed from the Ministry of the Army to the Ministries of the Interior and Commerce and Agriculture in 1949. Though they sold it to the Yamato Wool Company as surplus, the plant was finally closed in Showa 36 (1961), ending the factory's 80-year history. As none of the factory facilities still stand, this wall is one of the only parts of the Senju Textile Mill that still remain, making it a cultural heritage item of high historical value.

Heisei 22 (2010), October

Arakawa Ward Board of Education

Japanese text:

荒川区登録有形文化財

(歴史資料)

旧千住製絨所煉瓦塀

この煉瓦塀は、明治十二年（十八七十九）に創業を開始した官営工場、千住製絨所の敷地を取り囲んでいた東側の塀です。塀の長さは北側九．九メートル、南側八．四メートルで、正門の袖柱の一部と、塀を保護するために設けられた車止めの一部が残っています。建設年代は、明治四十四年（十九十一）から大正三年（十九十四）頃と推定されます。

千住製絨所は、ラシャ場とも呼ばれ、殖産興業、富国強兵政策の一貫として軍服用絨（毛織物）の本格的な国産化のために設けられた施設です。軍服用絨を製造するだけでなく、民間工場に技術を伝授する役割も果していました。初代所長は、ドイツで毛織物の技術を学んだ井上省三です。荒川総合スポーツセンター西側に井上省三の胸像が保存されています。

当初の工場は、荒川（現隅田川）沿いに建設されましたが、次第に周辺の田園地帯を取り込んで拡張を重ね、大正時代には、敷地面積は三万二千四百六坪になりました。千住間道を南限とし、現在の荒川総合スポーツセンター、南千住野球場、南千住警察署、都営住宅、都立荒川工業高校、東京都水道局東部第二支所などが旧敷地に該当します。

千住製絨所の登場は、南千住地域の近代化に大きな影響を与えました。明治時代、汐入の二つの紡績工場（南千住八丁目）、石浜神社付近のガス会社（南千住三丁目）など大規模な工場が進出し、また隅田川貨物駅なども設置され、南千住は興行と商業の町へと変貌していきました。内務省、農商務省、陸軍省と所管が代わり、戦後、昭和二十四年（十九四九）には、大和毛織株式会社に払い下げられましたが、昭和三十六年（十九六十一）に工場が閉鎖され、八十年余利の羊毛工場の歴史に幕を閉じました。構内にあった工場の建物等は現存していないため、この煉瓦塀が千住製絨所に関する数少ない建造物であり、歴史的価値の高い文化財です。

What if our thoughts materialized as tangible actions in remote locations?

IMAGINATIVE is an installation work consisting of two rooms.

In the first, there is a monitor displaying a table with a cup in an empty room. Using a specialized (eye tracking / brain computer) interface, participants can telekinetically control the cup in the remote space. The shifting of the cup back and forth, poised in the air, expresses someone's imagination in real-time.

In the second room, the audience will encounter an extraordinary spectacle. Sitting on the table is a green robot arm enabling the cup to move, while the floor surrounding the table is covered in broken cups.

Given that brain computer interfaces directly connect our “consciousness” with the external world, what does “imagination” mean? What is the “imagination” that we present to the world?

The only tangible evidence I've seen of averting these shit head mass shooters is responsible citizens either shooting them or incapacitating them. You can pass all the gun laws you want, it's not going to change a got-damn thang. Send guns to every responsible citizen and let them carry, let's turn this whole mf into Texas and then see how many of these pussy shooters show up. Unfortunately the mainstream media doesn't like that idea or any actual effectiveness agains these sick fucks, so they make sure to either not cover it, or make the wording as scaled back as possible. Not a single headline said "Citizen with carry permit saves dozens from mass shooting," or anything along those lines. This guy is a fucking hero and this should be everywhere. We're fucked.

Despite the tangible artifact the historical record is hazy. This regional market (that place you will never inhabit) is not for you. Who cares if it’s not up to your standards? It’s speaking in a tongue that you have yet to understand. It represents modernity at the very edge of the prescient global marketplace. Nevertheless, the foreigner can’t help but be attracted to the illustration’s aura, the cross-hatched sheen coming off the bespectacled popster’s noggin. (Huang Qing Yuen 黄清元 is a popular Malaysian Chinese singer from the 1960's).

The historical record (the world-wide-web) even alters the spelling of the subject’s name (Wong Ching Yian / Huang Qing Yuen) allowing for further obfuscation. The singer’s record label leaves no trace but an as-of-yet unheard oral and fading possibility (or the information settles on some dusty academic shelf). Yet, here and there we find a crack in the layers of document-worthy technology (books, websites), a fanatic with nothing but the product to establish their own production (something like this blog), someone willing to archive the obscurely important. Youtube embeds the sound of this 45 rpm which we translate as the song “Man Li”:

www.youtube.com/watch?v=oD09jRsJOio

(image behind 45 rpm is view from my flat in Dragon Centre, Wun Sha Street, Hong Kong)

Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã

„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”

Photo by Fred Pacífico

©2014 Philipp Geist / VG BIldkunst Bonn

Rio de Janeiro / Brazil 2014

Christ statue (Cristo Redentor) – May 12

Dona Marta favela – May 15 and 16,2014

Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014

on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,

2014

Installation Philipp Geist Year of Germany in Brazil 2013/2014

Concept Time Drifts May 2014

At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)

develops two light installations in Rio this year; the first one on the world-famous Christ statue

(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the

artist presents artistic-liberal and poetic German and Brazilian themes and develops a building

and floor light installation of colored words and phrases in Portuguese, German, and in other

international languages. The installation deals with cultural characteristics and achievements of

both countries and visualizes the issues of time and space, volatility and presence in a free

artistic style. The two projects are in fact a double project which is combined. The installation

on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small

buildings and huts of the favela. The Christ statue, which has been built to protect the city and

the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The

installation in the favela will be seen not only on a facade as a large cinema projection or as a

static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the

visitor becomes a part of the installation and can immerse into the projection and the light and

introduce himself. Chalk crayons are put out on the streets in the favela and the young and old

residents and visitors can write and paint words on the street, the ground, the stairs or even on

the house walls. The residents and several institutions should be addressed to submit words and

associations dealing with Rio, Brazil and Germany.

For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the

German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.

The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various

currents and voices in cultural contexts and to provide institutions and visitors with the

opportunity of substantive participation: different personalities, visitors and institutions may be

addressed in advance and then contribute words and associations. Current and historico-cultural

topics are researched in advance by the artist and then integrated in a sensitive and subtle way.

The projection dismisses the use of screens, because concepts and associations are projected on

a large area onto the floor surface on several facades and in theater fog. Over the course of two

days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo

Redentor on May 12 for a day.

Short, tall, young and old visitors can interactively participate in the installation by tracing and

adding words with colored chalk crayons available on the streets. Thus, over the period of the

installation, a carpet of words is evolved with terms that are contributed locally by the visitors

by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this

way a dialogue between the place, the visitors and his artistic work.

The concrete, tangible projection of the architecture and the static terms on the floor area

represents the facts and visible relics that are responsible for our understanding of history. The

transparent and volatile projection in the fog reminds us that part of the history can not be

preserved and that it is created in our individual imagination in a single moment. Words are

briefly visible as a metaphor for transience and then disappear again. This interplay of the

various text and image layers in the space refers to the location and the history/-ies of Brazil

and Germany and the cultural exchange between the two countries. The visitors themselves are

part of the installation: they dive into the large floor projection. In this way, different

perspectives and experiences of space are unified. Abstract passages which are created, then

overlapped and displaced by each other symbolize the constant changes in history, the passage

of time and the transience of existence. Even the understanding of the past is in the flux. The

modern writings and formations created on the computer establish a connection to the present

and the possibilities of today's technology and show that the perception of history and culture

depends always on the possibilities and constraints of the present.

'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent

years by Philipp Geist, and which are always re-developed site-specifically and adapted to the

local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer

Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012

the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000

visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the

'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the

Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in

Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3

million visitors saw his facade installation at the royal throne in Bangkok. Other projects

include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'

at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop

(Germany, 2008).

Geist's projects are primarily characterized by their complexity concerning the integration of

space, sound and motion images. His video mapping installations waive screens and transform a

wide range of architectures in moving, picturesque light sculptures which challenge the viewer's

perception of two- and three-dimensionality.

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

---------------

Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil

2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de

2014

Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014

Conceito Time Drifts Maio 2014

No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá

duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do

Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros

de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e

no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas

internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países

e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.

Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na

estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos

pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para

proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma

favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de

cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e

nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar

na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e

visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas

escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão

convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a

Alemanha.

Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o

'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria

Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias

correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a

oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser

contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos

e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma

sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são

projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em

fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e

em 12 de maio, por um dia, no Cristo Redentor.

Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com

giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta

maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras

serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.

Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.

A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do

solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A

área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não

pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.

Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,

desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se

à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois

países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção

do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens

abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças

contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do

passado também está no fluxo. As fontes e formações modernas criadas no computador

estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a

percepção da história e da cultura sempre dependende das capacidades e limitações do

presente.

'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas

durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições

locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça

Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower

(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt

onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em

2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver

bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing

foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do

aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do

artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado

museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;

Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).

Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de

espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam

telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que

desafiam a percepção do espectador de duas e três dimensões.

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

---------------

Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014

an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014

Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014

Konzept Time Drifts Mai 2014

Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler

Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue

(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation

greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und

entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in

portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert

kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit

und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt

es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von

Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten

der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu

schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die

Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches

Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf

den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die

Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide

ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den

Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und

verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,

Brasilien und Deutschland stehen einzureichen.

Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen

Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet

sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und

Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die

Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,

Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen

beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert

und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von

Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf

mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die

Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai

für einen Tag zu sehen sein.!

Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger

Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an

der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus

Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'

der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog

zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !

Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der

Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis

ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,

dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen

Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und

verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im

Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen

Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die

großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven

und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig

verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und

die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die

modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung

zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit

von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart

abhängig ist.

'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten

Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch

weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer

Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die

Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen

und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts

in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die

Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen

anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine

Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'

am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,

'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).

Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von

Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und

verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die

Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.

Chief Statistician and Data Officer and Statistics Department Director Bert Kroese opens the 10th IMF Statistical Forum: Measuring the Tangible Benefits of Intangible Capital at the International Monetary Fund.

IMF Photo/Cory Hancock

16 November 2022

Washington, DC, United States

Photo ref: CH221116001.arw

Tangible Engine is an authoring package supporting object recognition on Ideum multitouch tables. The software now supports recognition across multiple displays. Tangible Engine SDK is the first authoring software of its kind to work with projected-capacitive touch screens. Learn more at: www.tangibleengine.com or ideum.com

Part of a Set / Slideshow documenting an installation by Claire Simpson.

There is also a YouTube video.

Claire Simpson's Performance & Visual Art (Dance) Degree Show 2012 - Tangible Light - at the University of Brighton. The piece is an installation using the materials of light, colour and theatrical smoke / mist to create the physical and tangible illusion of light. Video projectors were used to project relatively simple geometric moving shapes. This created the illusion of solid cones and planes of light.

This image / video is available under the indicated creative commons licence - subject to the approval of the artist(s) featured - and also subject to any additional conditions that the artist(s) may wish to apply.

Three days of ceremonies marked the inauguration of the Shree Peetha Nilaya Panduranga Mandir. The early spring days even featured snow one morning, but the devotees stood patiently outside anyway and the musicians did a fabulous job of singing for hours on end.

Paramahamsa Vishwananda presided over the Prana Pratistha ceremonies and gave short Satsangs each day to help everyone learn about the new deities, Panduranga and His wife, Rukmini. Gurudev described the dedicated faith of people throughout the centuries that resulted in personal relationships with the Divine, just as tangible as the relationships we have with friends and family, and in a touching moment remarked, 'If you only knew how much He loves you.'

In addition, this year, Lord Rama's appearance day (Ram Navami) coincided with the last day of Spring Navaratri, making it an especially rich experience to have all three festive events taking place on one day. Together with Paramahamsa Sri Swami Vishwananda and devotees from around the world, we celebrated Lord Rama and His life of compassion, virtue, and commitment to dharmic living.

bhaktimarga.org

paramahamsavishwananda.com

Being there almost made it real to me. Being on that bench, with the breeze cool around my ankles and the dappled sunlight winking at me, I could almost feel her presence, smell the floral scent impressed upon my memory from the nearly empty bottle buried in my father's bureau drawer.

Being there, in a place that I had seen so many times in the face of a photograph, the edges smudged from my child fingers, made her real to me in a way she had never been before. She, the elusive angle, my guardian from afar and the source of all my longing. She, the woman whose love I would never feel. My mother.

And when I sat on that bench in the sunlight, that very bench she'd sat on two decades before, on the day she found out about me, I finally knew what it was like to have a mother who was alive and real, and not a mother comprised of an empty perfume bottle and a smudged, out of focus memory.

260/365

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We get shy to take the time for what's tangible. From a youth when everything had to be experienced, somehow we come content with second-hand stories. For me, remnants always rise to the occasion. History doesn't have to hold any actual information to forge a connection, but many expect you to settle when names and dates are all on offer. How about tales with neither of those? Can't tell you whose car this was, or where it went, whether adventurous or ordinary journeys. I do know that its last ride was one heck of crash, when someone pushed it down from the now-defunct quarry up top. Now it's in a junkyard with a view of Fales River, couple neighbours for company. Last rusting place with the wonder if anyone who drove behind the wheel is still living. More of my questions are never answered than are, but I'm fine with knowing that maybe some stories are bound to end with me.

September 30, 2025

East Tremont, Nova Scotia

Year 18, Day 6533 of my daily journal.

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You can support my work

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first on Patreon

Cardboard typography experiments.

Text is practically verbatim from the 2008 edition of Algorithmic Biomimicry (p.44).

Illusion of tangible light from the grinder

Part of a Set / Slideshow documenting an installation by Claire Simpson.

There is also a YouTube video.

Claire Simpson's Performance & Visual Art (Dance) Degree Show 2012 - Tangible Light - at the University of Brighton. The piece is an installation using the materials of light, colour and theatrical smoke / mist to create the physical and tangible illusion of light. Video projectors were used to project relatively simple geometric moving shapes. This created the illusion of solid cones and planes of light.

This image / video is available under the indicated creative commons licence - subject to the approval of the artist(s) featured - and also subject to any additional conditions that the artist(s) may wish to apply.

exhibition design for mercedes-benz. tangible, interactive media and room installations

There has been a shrine at this location since Fatimid times, but tangible architectural documentation does not appear until the 1549, when a series of builders, beginning with Semiz Ali Pasha (in 1549) contributed to it. The current mosque was enlarged in 1942, the 1990s & 2022.

The cenotaph is protected by a magnificent silver screen provided by the Dawoodi Bohras, from the Shiʿa Ismaʿili Mustaʿli Tayyibi branch of Islam who adhere to the faith of the Fatimid Imam-caliphs.

Zaynab bint 'Ali c.626-c.682, the eldest daughter of 'Ali ibn Abi Talib & Fatima bint Muhammad, sister of Husayn. She was with him at the battle of Karbala. The Prophet Muhammad was her maternal grandfather, and thus she is a member of his Ahl al-Bayt (People of the House, the holy family of the Prophet Muhammad). She married ‘Abdullah ibn Ja‘far. Some historians consider that Sayyida Zainab was exiled to Egypt in c.679, and that she was buried at this site. However, many people, primarily Twelver Shias, believe that Sayyida Zainab was buried in Damascus, Syria (see www.flickr.com/photos/gballardice/5081543467 & ff.).

Along with Sayyidas Nafisa & Ruqayya, Zaynab bint 'Ali are traditionally considered the patron saints of Cairo.

Patron: Tewfik Pasha (Muḥammad 'Ali Tawfīq Bāshā) 1852-1892, eldest son of Khedive Ismail, Khedive (Ottoman viceroy) of Egypt & Sudan (r.1879-1892).

Semiz Ali Pasha (Semiz, fat in Turkish) was an Ottoman Serb statesman from the Sanjak of Bosnia who served as Grand Vizier of the Ottoman Empire (r.1561-1565), beylerbey (governor) of Egypt Eyalet (r.1549-1553).

Islamic Monument #620

KABUL, 28 September 2016 - Real tangible progress towards greater access to information in Afghanistan is realizable and will contribute to the development of a more open and fair society the UN envoy told delegates at a high-profile conference in Kabul, at which Chief Executive Abdullah Abdullah also spoke.

Around 150 people, including senior members of government institutions along with representatives of civil society, the media and the international community gathered for the one-day meeting which also marked the first ‘International Day for Universal Access to Information’.

Mr. Abdullah said that in the history of the country, access to information is not something new and people had given their lives for it. Making information available was a government responsibility, he said.

Delivering the keynote address, Tadamichi Yamamoto -- the UN Secretary-General’s Special Representative for Afghanistan and head of UNAMA -- applauded President Ghani’s recent launch of a nation-wide campaign to improve public awareness of every citizen’s right to access information under Afghan law. Making Ministry spokespersons available seven days a week to answer media queries was a further positive step.

“Citizens’ rights to access to information lies at the heart of open and healthy societies,” said Mr. Yamamoto.

“Afghanistan today has a sound Access to Information law in place, and it has a government that has committed to improve transparency, ensure conditions for a vibrant media sector, as well as prioritize the fight against corruption.”

Mr. Yamamoto said ensuring access to information was vital for Afghanistan to achieve the Sustainable Development Goals, particularly Goal 16, ‘to achieve peace, justice and strong institutions’.

“Citizens, journalists and other stakeholders will play a key role in realizing these goals, but can only do so if their right to information is enforced,” said the Special Representative.

Mr. Yamamoto said that UNAMA stands ready to assist the Government in efforts “to achieve the law’s full promise of providing every citizen with access to information about public services”.

A collective effort was needed to increase public awareness and strengthen implementation of Afghanistan’s Access to Information Law, he said. The Afghan law came into force in 2015.

UNAMA is mandated to support the Afghan Government and the people of Afghanistan as a political mission that provides good offices; promotes coherent development support by the international community; supports the process of peace and reconciliation; monitors and promotes human rights and the protection of civilians in armed conflict; promotes good governance; and encourages regional cooperation.

Photo by UNAMA / Fardin Waezi.

English.

GD2013-0575.

08 August, 2013.

14 Wing Greenwood, Nova Scotia.

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Look! Up in the sky! Is it a bird? A plane? Actually yes, those bright yellow aircraft filling the skies above 14 Wing Greenwood were carrying members of Orr Flight as part of the Yellow Wings Youth Leadership Initiative. Created by Vintage Wings of Canada in partnership with the Air Cadet League of Canada and the Air Cadet Program, the Yellow Wings Youth Leadership Initiative uses six vintage training aircraft – collectively known as Yellow Wings – as unique teaching tools to highlight Canada’s rich aviation history and the tangible value and benefits of pursuing a career in science, technology, engineering and math. .

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Greenwood Air Cadet Summer Training Centre, in Greenwood, N.S., is one of four Cadet Summer Training Centres in Atlantic Canada. Cadets from across Canada are at the training centre this summer taking part in aviation, music, survival, leadership, and fitness and sports programs. Through participation in the Cadet Program, young people develop valuable life skills in teamwork, citizenship, leadership and physical fitness while having fun and meeting new friends..

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Cadets is one of Canada's most successful youth programs, the Cadet Program aims to develop in youth the attributes of good citizenship and leadership, promote physical fitness and stimulate the interest of youth in sea, land and air activities of the Canadian Forces..

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Photographed By: Corporal Jennifer Kusche.

14 AMS Wing Imaging.

(C) 2013 DND-MDN Canada

Artifact

2010

Gregory Barsamian

Born 1953, Chicago, IL, USA; lives and works in Brooklyn, NY, USA

Steel, foam rubber, paper, acrylic resin, electric motor

Please be aware that there are some strobe lighting effects in this artwork.

Gregory Barsamianâs work exists in a profound confrontation with reality. Theatrical in the sense that it takes place in a darkened space before a passively engaged audience, his sculpture relies almost completely on the viewer, because what the viewer sees, seemingly fully present and tangible, is, in fact, not there. Products of the viewerâs subconscious response, these constructed illusions create a conflict between sensory information and logic, a confrontation suggestive of a dream state. Barsamian has discovered a way, through the use of animation, to give visibility to images normally hidden in the subconscious mindâimages usually accessible only while dreaming. His work is oddly solipsistic, implying to the viewer that nothing exists and that even if something exists, nothing can be known about it.

Perhaps because Barsamian isnât a trained artist (his degree is in philosophy), he is particularly receptive to expanded definitions of the art object. This has allowed him to conceptualize beyond confining genres of presentation and subject matter. His work is shaped by Jungian psychology, dream theories of all sorts, and recent research on the neurology of dreaming. He is especially interested in differences between the conscious and the subconscious mind. As he pointed out in a recent statement, âConsciousnessâ¦in a rather slow (15 to 20 bits per second), plodding way, is capable of remarkable feats of reasonâ¦the senses bring in 20 million bits of information per second. Our minds are actually processing and acting on much of it in ways completely unknown to consciousnessâ¦in the subconscious, we experience things not through the limits of the conscious mind but rather via the full torrent brought to us by all our senses.â

Barsamian makes the experience of seeing his work comparable to that of hearing musicâtaken in through the senses in ways that bypass the filters of consciousness. He yokes Jungâs intuitive mysticism to the theory that dreams create new ideas as well as mutations in brain structure. Barsamian has been tape-recording his dreams for two decades, and much of his own dream-imagery appears in his work. His dream materials fall into distinct categories: action dreams, dreams of flying, and dreams involving transformation. This material is manifested in his work in the form of iterative loops, cycles of mutation and transformation with no clear beginning or end.

In his mechanized scenarios, players are locked into their situations, and constant repetition makes them visible. In this purgatory, nothing is resolved. Reflecting the tenuous, insubstantial, and fleeting nature of dreams, his images have no fixed meaning; each piece makes equal sense running backward and forward in time. In Die Falle, human forms flow from sleeping heads, arch backward and form wheels, which become square and dysfunctional before mutating back into figures that drift upward to rest in beds formed of mouse traps. In the majority of Barsamianâs work, images of futility, rage, sin, excrement, shame, or flying blink in and out of the viewerâs consciousness during the two- to five-minute life of each cycle. His imagery is sometimes personal, sometimes universal, and is drawn from politics, everyday life, and pop culture.

The representation of mood, or emotional nuance, is as central to Barsamianâs work as it is to dreams. Emotionally, his images are simultaneously humorous and melancholy. The comedy is related to the history of animation, which doubles as an encyclopedia of cultural humor. Animation is inherently funny because of its clumsy simulation of realityâits artifice, stylization, and mechanics make Barsamianâs work comical despite its sometimes scary and often serious content. The workâs mysterious and profound melancholy comes from its obsessive and repetitive re-enactment. The iterative imagery conjures feelings of helplessness, exasperation, and pathology while mimicking the involuntary nature of dreaming itself. Weighted with representations that elicit response rather than inform it, his work is more about the phenomena of dreams than literal dreams.

Barsamianâs Brooklyn workspace is Dickensian: shadowy, dimly lit, a hodgepodge of old-fashioned tools and electronic implements. He refers to his apparatus as âIndustrial Revolution-style technology,â using the phrase to describe his combination of 19th- and 20th-century fabrication techniques and advanced electronics. His equipment ranges from hand tools, welding machines, mold-making equipment, and resins to strobe lights, motorized turntables, electrical cables, and computers. Although his work is categorized as media arts, he doesnât project his images using advanced optics. His use of the computer is limited; he employs it as an aid in design and fabrication and to model sculpted elements. Unlike most artists whose work is derived solely from computer-driven processes, Barsamianâs digital interventions have no overt presence in the final object. The computer is just a part of his eccentric collection of equipment, a time-saving device. The end results look slightly crude and distinctly handmade, defined by their material substance.

Lather, 2002. Steel, urethane foam, acrylic medium,

motor, and strobe, 5 x 5 ft. diameter.

Barsamian motorizes hundreds of elements to create three-dimensional illusions of moving objects. His installations consist of sequentially formed sculptures carved in plaster and cast numerous times in urethane foam rubber. Some elements are cast from readymade objects including Barsamianâs face and hands. The fabrication is painstaking and time-consuming, often taking up to a year. Barsamianâs technique produces the appearance of motion from a succession of static objects, and the brain animates the images/objects, giving them spatial reality. This psychological phenomenon is called the persistence of vision; simply put, an illusion of movement is created when a viewer sees a rapid succession of images. As Barsamian describes it, âKnowledge of objects allows us to link the images together into a single identityâ¦a kind of animation. As we move, forms mutate one into the other in a wild spectacle of change.â Lucretius is credited with discovering persistence of vision; like Barsamian, he thought of it in connection with images seen in dreams.

Barsamian has to juggle multiple factors in order to produce the illusion of one smooth motion. The sequentially formed pieces (sometimes as many as 40) are attached to a motorized armature, a spherical wire cage that spins as fast as an old-fashioned record player (33 1/3 to 50 revolutions per minute). The cage spins vertically in front of a strobe light that flashes 13 times per second, illuminating the sculptures as they move. Perfect calibration of light and movement is crucial; with the right timing, you donât see a blur as the sculptures spin by but a single moving image like a filmstrip. The motion mostly takes a vertical direction, as though the forms were moving from top to bottom and bottom to top rather than in the direction of the turning armature. If the timing is too slow, the illusory waterfall of motion loses its directional quality and every gear and knob appears; if the timing is too fast, the images become incoherent. The end result is so disconnected from reality that you are confronted with two choices: accept every facet of it or reject it as a mere trick, something contrived and merely mechanical. Barsamian makes his work so curious, complex, and seductive that it bypasses the entrenched structures of disbelief and the usual 20-second glance. The cascade of images, drone of motors, and slight breeze generated by the whirling armatures envelop the viewer, delivering a sensory assault so encompassing, so potent, that it erases the usual separation between spectator and object.

While Barsamianâs work is compelling and enigmatic even at rest, itâs impossible to experience through photography. Photographs reveal the mechanics of the work and the appearance of the many small pieces that create the illusions. These are wonderful to see, and they are beautifully crafted, but seeing them is like looking behind the green curtain and encountering the Wizard of Oz. Barsamianâs details are like the articulations of a puppetâseeing the pieces in action is the point. The function of the components is to create the magical illusion of animation; the content is the entire experience. The best way to see Barsamianâs work is either in person (the collection of the Museum of the Moving Image in New York includes Feral Font) or on his Web site www.gregorybarsamian.com.

Artifact, Barsamianâs most recent piece, was commissioned by David Walsh, creator and owner of the Museum of Old and New Art (MONA) in Hobart, Tasmania. Its form and imagery were inspired by the 19th-century pseudoscience of phrenology. Unlike many of Barsamianâs previous works, the 10-foot-diameter steel head is stationary and enclosed, its animating armatures concealed inside. Because the viewer has to walk around the work to view the animations, the experience is intimate and engaging. The head wears a benevolent expression, eyes open, a faint smile on the lips, as if experiencing a pleasant dream. Presented in a darkened space with its huge cheek snuggled against the floor, it bears a faint but distinct resemblance to Brancusiâs Sleeping Muse. The skin is criss-crossed with delicate linesâthe tack-welded edges of the hundreds of small plates that form the head and lend it the look of a refined Frankensteinâs monster. When Artifact is operating, light leaks out between the suture-like welds of the skin, bathing the whole object in a crackly, electrical glow

Jan van Goyen (1596-1656), active in Leiden, The Hague

View of Dordrecht, 1644

Since the 30s van Goyen created panoramic views of Dutch cities. In the view of Dordrecht (seen from the south over the water surface of the Oude Maas with the silhouette of the Gothic Grote Kerk - Great Church) the characteristics of a "Marine Landscape" flow into the representation. With loose brush strokes and partly very thinly painted color van Goyen captures the transparent, moving of air and water. The brownish provided with a few blue and green tones colorfulness the ubiquity of the moist element makes tangible.

Jan van Goyen (1596-1656), tätig in Leiden, den Haag

Blick auf Dordrecht, 1644

Seit den 30er Jahren schuf van Goyen Panorama-Ansichten holländischer Städte. In die Ansicht von Dordrecht (von Süden über die Wasserfläche der Oude Maas gesehen, mit der Silhouette der gotischen Grote Kerk) fließen die Merkmale einer "Marinelandschaft" ein. Mit lockerem Pinselstrich und teilweise ganz dünn gestrichener Farbe fängt van Goyen das Durchsichtige, Bewegte von Luft und Wasser ein. Die bräunliche mit wenigen Blau- und Grüntönen versehene Farbigkeit macht die Allgegenwart des feuchten Elements fassbar.

Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag

www.khm.at website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.

History

Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building.

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währinger street/Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the Opera ring, and Ludwig Zettl the southeast side of the Grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience of Joseph Semper with the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper subsequently moved to Vienna. From the beginning on, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times.

Dome hall

Entrance (by clicking on the link at the end of the side you can see all the pictures here indicated!)

Grand staircase

Hall

Empire

The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891, the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol needs another two years.

1891, the Court museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office

Library

Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his "Estensische Sammlung (Collection)" passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d'Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The Court museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain on 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House", by the Republic. On 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the

Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of Ancient Coins

Collection of modern Coins and Medals

Weapons collection

Collection of Sculptures and Crafts with the Collection of Ancient Musical Instruments

Picture gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the German Reich.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to bring certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. To this end was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.

Management

1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief, in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections, in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections, in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

Since 2009: Sabine Haag as general director

Collections

To the Kunsthistorisches Museum also belon the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection

Library

New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour

Archive

Hofburg

The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

de.wikipedia.org/wiki/Kunsthistorisches_Museum

Zo: Tangible AI interface enhances physical engagement, connecting people to each other and to Zo, a social chatbot, through haptic and dynamic shape-changing output. In the form of an ordinary phone case, Zo rhymes and moves with people. More than a virtual, illusory intelligence, Zo: Tangible AI embodies a living social creature that connects with people.

credit: Xin Liu

There has been a shrine at this location since Fatimid times, but tangible architectural documentation does not appear until the 1549, when a series of builders, beginning with Semiz Ali Pasha (in 1549) contributed to it. The current mosque was enlarged in 1942, the 1990s & 2022.

The cenotaph is protected by a magnificent silver screen provided by the Dawoodi Bohras, from the Shiʿa Ismaʿili Mustaʿli Tayyibi branch of Islam who adhere to the faith of the Fatimid Imam-caliphs.

Zaynab bint 'Ali c.626-c.682, the eldest daughter of 'Ali ibn Abi Talib & Fatima bint Muhammad, sister of Husayn. She was with him at the battle of Karbala. The Prophet Muhammad was her maternal grandfather, and thus she is a member of his Ahl al-Bayt (People of the House, the holy family of the Prophet Muhammad). She married ‘Abdullah ibn Ja‘far. Some historians consider that Sayyida Zainab was exiled to Egypt in c.679, and that she was buried at this site. However, many people, primarily Twelver Shias, believe that Sayyida Zainab was buried in Damascus, Syria (see www.flickr.com/photos/gballardice/5081543467 & ff.).

Along with Sayyidas Nafisa & Ruqayya, Zaynab bint 'Ali are traditionally considered the patron saints of Cairo.

Patron: Tewfik Pasha (Muḥammad 'Ali Tawfīq Bāshā) 1852-1892, eldest son of Khedive Ismail, Khedive (Ottoman viceroy) of Egypt & Sudan (r.1879-1892).

Semiz Ali Pasha (Semiz, fat in Turkish) was an Ottoman Serb statesman from the Sanjak of Bosnia who served as Grand Vizier of the Ottoman Empire (r.1561-1565), beylerbey (governor) of Egypt Eyalet (r.1549-1553).

Islamic Monument #620

Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014

„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”

Photo by Fred Pacífico

©2014 Philipp Geist / VG BIldkunst Bonn

Rio de Janeiro / Brazil 2014

Christ statue (Cristo Redentor) – May 12

Dona Marta favela – May 15 and 16,2014

Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014

on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,

2014

Installation Philipp Geist Year of Germany in Brazil 2013/2014

Concept Time Drifts May 2014

At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)

develops two light installations in Rio this year; the first one on the world-famous Christ statue

(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the

artist presents artistic-liberal and poetic German and Brazilian themes and develops a building

and floor light installation of colored words and phrases in Portuguese, German, and in other

international languages. The installation deals with cultural characteristics and achievements of

both countries and visualizes the issues of time and space, volatility and presence in a free

artistic style. The two projects are in fact a double project which is combined. The installation

on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small

buildings and huts of the favela. The Christ statue, which has been built to protect the city and

the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The

installation in the favela will be seen not only on a facade as a large cinema projection or as a

static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the

visitor becomes a part of the installation and can immerse into the projection and the light and

introduce himself. Chalk crayons are put out on the streets in the favela and the young and old

residents and visitors can write and paint words on the street, the ground, the stairs or even on

the house walls. The residents and several institutions should be addressed to submit words and

associations dealing with Rio, Brazil and Germany.

For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the

German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.

The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various

currents and voices in cultural contexts and to provide institutions and visitors with the

opportunity of substantive participation: different personalities, visitors and institutions may be

addressed in advance and then contribute words and associations. Current and historico-cultural

topics are researched in advance by the artist and then integrated in a sensitive and subtle way.

The projection dismisses the use of screens, because concepts and associations are projected on

a large area onto the floor surface on several facades and in theater fog. Over the course of two

days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo

Redentor on May 12 for a day.

Short, tall, young and old visitors can interactively participate in the installation by tracing and

adding words with colored chalk crayons available on the streets. Thus, over the period of the

installation, a carpet of words is evolved with terms that are contributed locally by the visitors

by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this

way a dialogue between the place, the visitors and his artistic work.

The concrete, tangible projection of the architecture and the static terms on the floor area

represents the facts and visible relics that are responsible for our understanding of history. The

transparent and volatile projection in the fog reminds us that part of the history can not be

preserved and that it is created in our individual imagination in a single moment. Words are

briefly visible as a metaphor for transience and then disappear again. This interplay of the

various text and image layers in the space refers to the location and the history/-ies of Brazil

and Germany and the cultural exchange between the two countries. The visitors themselves are

part of the installation: they dive into the large floor projection. In this way, different

perspectives and experiences of space are unified. Abstract passages which are created, then

overlapped and displaced by each other symbolize the constant changes in history, the passage

of time and the transience of existence. Even the understanding of the past is in the flux. The

modern writings and formations created on the computer establish a connection to the present

and the possibilities of today's technology and show that the perception of history and culture

depends always on the possibilities and constraints of the present.

'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent

years by Philipp Geist, and which are always re-developed site-specifically and adapted to the

local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer

Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012

the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000

visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the

'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the

Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in

Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3

million visitors saw his facade installation at the royal throne in Bangkok. Other projects

include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'

at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop

(Germany, 2008).

Geist's projects are primarily characterized by their complexity concerning the integration of

space, sound and motion images. His video mapping installations waive screens and transform a

wide range of architectures in moving, picturesque light sculptures which challenge the viewer's

perception of two- and three-dimensionality.

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

---------------

Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil

2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de

2014

Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014

Conceito Time Drifts Maio 2014

No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá

duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do

Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros

de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e

no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas

internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países

e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.

Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na

estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos

pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para

proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma

favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de

cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e

nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar

na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e

visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas

escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão

convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a

Alemanha.

Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o

'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria

Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias

correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a

oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser

contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos

e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma

sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são

projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em

fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e

em 12 de maio, por um dia, no Cristo Redentor.

Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com

giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta

maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras

serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.

Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.

A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do

solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A

área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não

pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.

Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,

desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se

à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois

países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção

do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens

abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças

contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do

passado também está no fluxo. As fontes e formações modernas criadas no computador

estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a

percepção da história e da cultura sempre dependende das capacidades e limitações do

presente.

'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas

durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições

locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça

Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower

(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt

onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em

2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver

bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing

foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do

aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do

artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado

museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;

Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).

Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de

espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam

telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que

desafiam a percepção do espectador de duas e três dimensões.

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

---------------

Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014

an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014

Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014

Konzept Time Drifts Mai 2014

Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler

Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue

(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation

greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und

entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in

portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert

kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit

und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt

es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von

Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten

der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu

schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die

Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches

Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf

den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die

Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide

ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den

Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und

verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,

Brasilien und Deutschland stehen einzureichen.

Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen

Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet

sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und

Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die

Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,

Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen

beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert

und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von

Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf

mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die

Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai

für einen Tag zu sehen sein.!

Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger

Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an

der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus

Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'

der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog

zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !

Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der

Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis

ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,

dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen

Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und

verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im

Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen

Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die

großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven

und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig

verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und

die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die

modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung

zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit

von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart

abhängig ist.

'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten

Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch

weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer

Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die

Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen

und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts

in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die

Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen

anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine

Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'

am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,

'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).

Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von

Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und

verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die

Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.

GENERATION OF HIGH QUALITY:

(Is a human / generation that is able to do as follows below):

1. OVERCOME VARIOUS problema ACHIEVE ANY DESIRE =

= Healing .......................for self and others; distance / near

= Achieve ...... .................for self and others; distance / near

= Reach ......................... love for self and others; distance / near

= Happiness, etc. ............ for self and others; distance / near

2. CHILDREN UNDER THE NEED = BEFORE / AFTER BIRTH =

= Face......... to conform with the wishes

= Nature ......to conform with the wishes

= Genitals .....to conform with the wishes

= Twin / no.. accordance with the wishes

= Ability ........to comply with the wishes

= IQ..............for liking

= Its future, ..etc. to conform with the wishes

3. SOME LETTERS PASSWORD..... free ( OWN CREATION)

4. COPYRIGHT COMBINED SOME POETRY FROM NAME =

= Name and meaning / purpose of poetry depends request ....(Free)

Please Sorry not to be discussed, discussed in the liver and then get GENERATION HIGH QUALITY send USD; 1,500,000 (to point 1 and point 2) to: Rosida no. rek.654801002820505 BRI branch: 6548 units Sumenep Kalianget East Java Indonesia then send it to us: full address, profiles, and desire through PO.BOX, sms / call, email.atau you can come directly to our hut.

Then you will get:

1. some books to guide science GENERATION HIGH QUALITY good to use before marriage / after, before the birth / thereafterwith this book you will learn and be able to:

a. OVERCOME VARIOUS problema ACHIEVE ANY DESIRE =

= .............. Healing for self and others; distance / near

= Achieve .............. for self and others; distance / near

= Reach ............. love for self and others; distance / near

= Happiness, etc. ............ for self and others; distance / near

b. CHILDREN UNDER THE NEED = BEFORE / AFTER BIRTH =

= Face ...................... to conform with the wishes

= Nature................... to conform with the wishes

= Genitals..................to conform with the wishes

= Twin / no................to accordance with the wishes

= Ability .....................to comply with the wishes

= IQ ..........................for liking

= Its future,............... etc. to conform with the wishes

2. MIXED FOODS, BEVERAGES efficacious for consumption during the 24h X a month, so you will learn and be able to:

a. OVERCOME VARIOUS problema ACHIEVE ANY DESIRE =

= .............. Healing for self and others; distance / near

= Achieve .............. for self and others; distance / near

= Reach ............. love for self and others; distance / near

= Happiness, etc. ............ for self and others; distance / near b. CHILDREN UNDER THE NEED = BEFORE / AFTER BIRTH =

= Face ...................... to conform with the wishes

= Nature................... to conform with the wishes

= Genitals..................to conform with the wishes

= Twin / no................to accordance with the wishes

= Ability .....................to comply with the wishes

= IQ ..........................for liking

= Its future,............... etc. to conform with the wishes

3. manual close / far away forever (if we die our generation will continue; (transfer of energy and other such) so you will learn and be able to:

a. OVERCOME VARIOUS problema ACHIEVE ANY DESIRE =

= .............. Healing for self and others; distance / near

= Achieve .............. for self and others; distance / near

= Reach ............. love for self and others; distance / near

= Happiness, etc. ............ for self and others; distance / near b. CHILDREN UNDER THE NEED = BEFORE / AFTER BIRTH =

= Face ...................... to conform with the wishes

= Nature................... to conform with the wishes

= Genitals..................to conform with the wishes

= Twin / no................to accordance with the wishes

= Ability .....................to comply with the wishes

= IQ ..........................for liking

= Its future,............... etc. to conform with the wishes

alifi30271@hotmail.comalif30271@yahoo.co.idalif30271@ymail.comalifi30271@gmail.comalifi30271@yahoo.comal30271@yahoo.comhttp://alifi30271.blogspot.com/http://generationofhighlyqualified.blogspot.com/http://alif30271.blogspot.com/http://www.mybloglog.com/buzz/alif30271http://my.opera.com/alif30271http://www.filmannex.com/alifiyasintadewi-nurqodrihttp:generationofhighlyqualified.blogspot.com/www.myspace.com/551149748http://groups.google.com/group/generation-high-qualityhttp://www.mixpod.com/alif30271http://www.flickr.com/photos/alifi30271yahoocomhttp://alifi30271.blogspot.com/http://generationofhighlyqualified.blogspot.com/http://alif30271.blogspot.com/http://profile.typepad.com/alifiyasintadewisahidi.achmad @ yahoo.com rsida@ymail.com

SMS = 081331412197 = 087850539399 = 081939047397

Rosida SAHIDI / alifiyasintadewi nurqodri Klg POBOX.30271 69 471 INDONESIA JL. PORT KERTASADA No.38 RT.02/01 Kalianget SUMENEP 69 471 EAST JAVA INDONESIA

* While it is not yet born, later born, the child - children, adolescence, adulthood, so parents, if in the future it is better than all the elements (Chronicle, seeds, lathe, ancestor, and weight), it will be good precisely on The next period, or the next descent. (That's rotation system, if either it will be good also in the future - which will be passed next time.) But that does not mean there is a problem for which the system can not get / create GENERATION OF HIGHLY qualified ...! Before the marriage, before birth, or after birth, GENERATION OF HIGHLY qualified to be created.

So far away before marriage, there was no system of creation, how generations / children that we want, of this process we will know how to actually solve various problems from within ourselves or others, and how to achieve all desires ranging fromin themselves, then help others After birth we were able to drive to create, how abilitasnya, his IQ, character, future, etc., so that our children become the generation that highly qualified.

After birth GENERATION OF HIGHLY Qualified created through two methods:

1.metode in dlahir / sharia / real (through our assistance)

2.metode inner / supernatural (through our assistance)

* After being born under the control arms with MOTHER LOVE:1.method is dlahir / visible / tangible, MOM, DAD, and FAMILY will be more visible to direct, create for children / generation is to become GENERATION OF HIGHLY qualified. 2. methods are unseen through our aid.

* Nature after birth will be brought to nature - nature in the natural maturation of the length distribution, this is where (in nature after the birth of many banks and management of data storage for your child / children / next generation), negatifpenyimpananannya / planting, it will be negative pendewasaannya . then .......... how to create pendewasaannya?GENERATION OF HIGHLY order to become qualified ?.... contact us to get the method. (All goods will be shipped to your place)

* In the arms of the mother and father, and families: making peace happily embrace the affection (without interference of other negative plan brain thinking) that would make the implementation of ITS THE PEACEFUL, HAPPY, LOVE, affectionate, THE ALMIGHTY CREATOR

* Starting from happiness within yourself, then direct the happiness to the wife, or husband, (co-exist and complement between husband and wife). Subsequent to the generation / our child, in community groups, state, and even the world so it will be in accordance with the purpose of the creator, and the goal THE ALMIGHTY CREATOR will be the creation of perfect beings called human.

By creating GENERATION OF HIGHLY qualified then, each of the individual, every family, every group of society, every citizen, and every race and human beings will be in accordance with the wishes, goals, ideals of every self, every family, every human being on earth as the purpose of religion, state and nation, even as the purpose of the creator, as the purpose of THE ALMIGHTY CREATOR will be the creation of perfect beings called human

GENERASI BERKWALITAS TINGGI :

(adalah manusia/generasi yang mampu untuk berbuat sebagaimana berikut di bawah ini) :

1. ATASI BERBAGAI MACAM PROBLEMA MENCAPAI SEGALA KEINGINAN=

=penyembuhan..............untuk diri dan orang lain ; jarak jauh/dekat

=mencapai cita..............untuk diri dan orang lain; jarak jauh/dekat

=mencapai cinta.............untuk diri dan orang lain; jarak jauh/dekat

=kebahagiaan,dll............untuk diri dan orang lain; jarak jauh/dekat

2. ANAK SESUAI KEINGINAN =SEBELUM/SETELAH LAHIR=

=wajahnya......................agar sesuai dengan keinginan

=sifatnya........................ agar sesuai dengan keinginan

=kelaminnya...................agar sesuai dengan keinginan

=kembar/tidaknya..........agar sesuai dengan keinginan

=ability............................agar sesuai dengan keinginan

=IQ-nya..........................agar sesuai dengan keinginan

=masa depannya,dll.......agar sesuai dengan keinginan

3. BEBERAPA HURUF SANDI CIPTAAN SENDIRI ........................(gratis)

4. CIPTA PUISI DARI GABUNGAN BEBERAPA NAMA=

=nama dan makna/tujuan puisi tergantung permintan............................. (gratis)

Mohon ma'af bukan untuk di diskusikan, diskusikan pada hati lalu dapatkan GENERATION HIGH QUALITY

kirim Rp;1.500.000 (untuk point 1 dan point 2)

ke :ROSIDA no. rek.654801002820505 BRI cabang: 6548 unit kalianget sumenep Jawa Timur Indonesia

kemudian kirim kepada kami: alamat lengkap, profil, dan keinginan lewat Po.Box,sms/call, email.atau anda dapat datang langsung ke gubug kami.

Maka anda akan mendapatkan:

1. beberapa kitab ilmu penuntun menjadi GENERATION HIGH QUALITY baik digunakan sebelum nikah/setelahnya, sebelum adanya kelahiran/setelahnya

dengan kitab ini anda akan belajar dan mampu untuk bisa:

a. ATASI BERBAGAI MACAM PROBLEMA MENCAPAI SEGALA KEINGINAN=

=penyembuhan..............untuk diri dan orang lain ; jarak jauh/dekat

=mencapai cita..............untuk diri dan orang lain; jarak jauh/dekat

=mencapai cinta.............untuk diri dan orang lain; jarak jauh/dekat

=kebahagiaan,dll............untuk diri dan orang lain; jarak jauh/dekat

b. ANAK SESUAI KEINGINAN =SEBELUM/SETELAH LAHIR=

=wajahnya...................... agar sesuai dengan keinginan

=sifatnya........................agar sesuai dengan keinginan

=kelaminnya...................agar sesuai dengan keinginan

=kembar/tidaknya..........agar sesuai dengan keinginan

=ability............................agar sesuai dengan keinginan

=IQ-nya..........................agar sesuai dengan keinginan

=masa depannya,dll.......agar sesuai dengan keinginan

2. CAMPURAN MAKANAN,MINUMAN BERKHASIAT untuk di konsumsi selama 24jam X satu bulan, sehingga anda akan belajar dan mampu untuk bisa:

a. ATASI BERBAGAI MACAM PROBLEMA MENCAPAI SEGALA KEINGINAN=

=penyembuhan..............untuk diri dan orang lain ; jarak jauh/dekat

=mencapai cita..............untuk diri dan orang lain; jarak jauh/dekat

=mencapai cinta.............untuk diri dan orang lain; jarak jauh/dekat

=kebahagiaan,dll............untuk diri dan orang lain; jarak jauh/dekat

b. ANAK SESUAI KEINGINAN =SEBELUM/SETELAH LAHIR=

=wajahnya...................... agar sesuai dengan keinginan

=sifatnya........................ agar sesuai dengan keinginan

=kelaminnya...................agar sesuai dengan keinginan

=kembar/tidaknya..........agar sesuai dengan keinginan

=ability............................agar sesuai dengan keinginan

=IQ-nya..........................agar sesuai dengan keinginan

=masa depannya,dll.......agar sesuai dengan keinginan

3. panduan jarak dekat/jauh selamanya (jika kami mati generasi kami akan melanjutkannya; (transfer energi dan lain lain semacamnya) sehingga anda akan belajar dan mampu untuk bisa:

a. ATASI BERBAGAI MACAM PROBLEMA MENCAPAI SEGALA KEINGINAN=

=penyembuhan..............untuk diri dan orang lain ; jarak jauh/dekat

=mencapai cita..............untuk diri dan orang lain; jarak jauh/dekat

=mencapai cinta.............untuk diri dan orang lain; jarak jauh/dekat

=kebahagiaan,dll............untuk diri dan orang lain; jarak jauh/dekat

b. ANAK SESUAI KEINGINAN =SEBELUM/SETELAH LAHIR=

=wajahnya......................agar sesuai dengan keinginan

=sifatnya........................ agar sesuai dengan keinginan

=kelaminnya...................agar sesuai dengan keinginan

=kembar/tidaknya..........agar sesuai dengan keinginan

=ability............................agar sesuai dengan keinginan

=IQ-nya..........................agar sesuai dengan keinginan

=masa depannya,dll.......agar sesuai dengan keinginan

alifi30271@hotmail.com

alif30271@yahoo.co.id

alif30271@ymail.com

alifi30271@gmail.com

alifi30271@yahoo.com

al30271@yahoo.com

alifi30271.blogspot.com/

generationofhighlyqualified.blogspot.com/

alif30271.blogspot.com/

www.mybloglog.com/buzz/alif30271

my.opera.com/alif30271

www.filmannex.com/alifiyasintadewi-nurqodri

http:generationofhighlyqualified.blogspot.com/

www.myspace.com/551149748

groups.google.com/group/generation-high-quality

www.mixpod.com/alif30271

www.flickr.com/photos/alifi30271yahoocom

alifi30271.blogspot.com/

generationofhighlyqualified.blogspot.com/

alif30271.blogspot.com/

profile.typepad.com/alifiyasintadewi

sahidi.achmad@yahoo.com

rsida@ymail.com

SMS =081331412197 =087850539399 =081939047397

ROSIDA SAHIDI/alifiyasintadewi nurqodri

POBOX.30271 KLG 69471 INDONESIA

JL. PELABUHAN KERTASADA NO.38 RT.02/01 KALIANGET SUMENEP JAWA TIMUR 69471 INDONESIA

*Semasih belum lahir, kemudian lahir, masa anak - anak, masa remaja, dewasa, jadi orang tua, jika dalam pada masa itu adalah baik dari semua unsur (babad, bibit, bubut, bebet,dan bobot), maka akan baik pulalah pada masa berikutnya, atau keturunan berikutnya.(itulah sistem rotasi , jika baik maka akan baik pula pada masa - masa yang akan dilalui berikutnya).

Tetapi bukan berarti bagi yang sistemnya ada masalah tidak bisa mendapatkan/menciptakan GENERATION OF HIGHLY QUALIFIED...!

Sebelum menikah, sebelum lahir,ataupun setelah lahir,GENERATION OF HIGHLY QUALIFIED dapat diciptakan.

Maka jauh jauh sebelum menikah, dari sana sudah ada sistem penciptaan, bagaimana generasi/anak yang kita inginkan, dari proses ini kita akan tahu bagaimana sebenarnya mengatasi berbagai macam problema dari dalam diri kita sendiri atau orang lain,dan bagaimana cara mencapai segala keinginan mulai dari dalam diri, kemudian membantu orang lain

Setelah lahir pun kita dapat mengarahkan menciptakan; bagaimana abilitasnya, IQ-nya, sifatnya,masa depannya,dll, sehingga anak kita menjadi generasi yang highly qualified.

Setelah lahir GENERATION OF HIGHLY QUALIFIED diciptakan melalui dua metode:

1.metode secara dlahir/syariat/nyata (melalui bantuan kami)

2.metode batin/ghaib (melalui bantuan kami)

*Setelah lahir yang tengah berada dalam kekuasaan dekapan KASIH IBU dengan:

1. metode secara dlahir/nampak/ nyata,IBU,AYAH, dan KELUARGA akan lebih nampak untuk mengarahkan,menciptakan agar anak/generasi adalah menjadi GENERATION OF HIGHLY QUALIFIED.

2. metode secara ghaib melalui bantuan kami.

*Alam setelah kelahiran pun akan di bawa kepada alam - alam yang panjang pendistribusiannya pada alam pendewasaan, disinilah (pada alam setelah kelahiran ini banyak dan penuh bank penyimpanan data bagi si kecil/anak/generasi penerus), negatifpenyimpananannya/penanamannya,maka akan negatif pendewasaannya.

lalu.......... bagaimana menciptakan pendewasaannya? agar menjadi GENERATION OF HIGHLY QUALIFIED?.... hubungi kami untuk mendapatkan metodenya. (semua barang akan dipaketkan ke tempat anda)

*Dalam dekapan sang ibu dan ayah ,serta keluarga: menjadikan dekapan damai bahagia kasih mesra (tanpa dicampuri pemikiran otak rencana negatif lain) yang akan menjadikan implementasi dari SANG PEMBERI DAMAI, BAHAGIA, KASIH,MESRA, SANG MAHA PENCIPTA

*Dimulai dari kebahagiaan dalam diri, kemudian mengarahkan kebahagiaan pada istri,atau suami,(saling mengisi dan melengkapi antara suami istri).selanjutnya pada generasi/anak kita, pada kelompok masyarakat,negara,bahkan dunia sehingga akan sesuai dengan tujuan pencipta, serta tujuan SANG MAHA PENCIPTA akan diciptakannya makhluk sempurna yang bernama manusia.

Dengan mencipta GENERATION OF HIGHLY QUALIFIED maka,setiap diri pribadi,setiap keluarga,setiap kelompok masyarakat,setiap warga negara,dan setiap umat dan makhluk manusia akan sesuai dengan keinginan,tujuan,cita-cita dari setiap diri,setiap keluarga,setiap umat manusia didunia sebagaimana tujuan agama,negara dan bangsa,bahkan sebagaimana tujuanpencipta, sebagaimana tujuan SANG MAHA PENCIPTA akan diciptakannya makhluk sempurna yang bernama manusia.

Geumtapsa or Geumtap Temple (Heavenly-Lantern Mountain Golden-Pagoda Temple), a Korean Buddhist Temple, is located at the base of Cheondeungsan (mountain) in Podu-myeon (township), Goheung-gun (county), Jeollanam-do (province), South Korea. The temple is known for being a Bhikkhuni (Buddhist nun) refuge and is affiliated with the Jogye Order of Korean Buddhism.

ORIGIN

Originally built in the 7th century by Buddhist Monk Wonhyo, Geumtapsa dates back to the Three Kingdoms period (57BC - AD668) when it was established as a branch of Songgwangsa (Temple).

TREASURES

TANGIBLE CULTURAL PROPERTY NO. 102 (GOHEUNG-GUN)

Geungnakjeon Hall of Geumtapsa Temple (Geumtapsageungnakjeon) is constructed in the style of the later years of the Joseon era (1392-1910).

It is said to have been burned down in 1597 during Imjin wars and to have been reconstructed in 1604. Records show that the building was either repaired or rebuilt in 1846, the 12th year of the reign of Joseon's King Heonjong (1849-63).

Geungnakjeon has a hipped-and-gabled roof with the eaves of the roof being supported by clusters of brackets. The multi-bracketing is typical of late-Joseon architecture.

Geungnakjeon has a Sanshin painting, the "Assembly of Spirits" where Sanshin (the Mountain Spirit), is depicted wearing a "flying scarf" like an immortal angel and holding a Daoist "peach of immortality", both of which are extremely rare (usually only features of his attendants).

Temple halls dedicated to Amitabha Buddha are usually named Geungnakjeon or Paradise Hall.

NATURAL MONUMENT NO. 239

One of the more prominent features at Geumtapsa is the Forest of Nutmeg Yew (torreya nucifera) that surrounds the temple.

Nutmeg trees are only found in the southern part of Korea. Average height of trees found in the forest is 10m but can grow to about 25m in height. Its needle-like leaves are thick, small, and sharp at the point. These trees bloom in spring and bear long and round seeds in fall. A good source of lumber, the trees have gradually disappeared and now only a few groves in Jeju-do, and some areas of the Jeollabuk-do and Jeollanam-do (provinces), which have been designated Natural Monuments, remain.

This forest of nutmeg trees at Geumtapsa Temple is at the mid-slope level of Mt. Cheondeungsan and is said to have been planted in 637, the sixth year of Queen Seondeok ( 632-647) of the Silla Kingdom (57B.C.-A.D.935).

The forest of nutmeg trees at Geumtapsa Temple in Goheung is designated and conserved as a Natural Monument because of its great value to scientific research.

TREASURE NO. 1344

BUDDHIST PAINTING OF GEUMTAPSA TEMPLE

(Geumtapsagwaebultaeng) is a painting, or gwaebul, from the King Jeongjo period of the Joseon Era depicting a unique composition with the three Buddhas of the past, present and future, flanked by major bosals depicted on a wide canvas.

Gwaebul refers to a large Buddhist painting that is hung outside the temple hall for outdoor sermons during Buddhist ceremonies or services. The painting is enshrined in Geumtapsa Temple, and is 506 cm/16.6 ft in length and 648 cm/21.3 ft in width.

The composition of the painting is rather simple as only the major bosals are depicted, without guardians such as Sacheonwang (Four Guardian Kings). The painting is divided horizontally into three parts where each of the three Buddhas of the past, present and future are drawn on a large scale. The attendants are depicted at the top and bottom of the painting. The main Buddha is depicted with a genial face and small features.

The yukgye (protuberance on top of Buddha’s head) is clearly shown in the shape of a sangtu (topknot) spread out to the side, and there is a large-sized gyeju (jeweled hair ornament) placed on top of the hair. The Buddha is depicted with broad, square shoulders and chigyeon (flower-shape decoration) around his right ankle.

The gwaebulgwe (storage box), in which the painting is stored, was made in 1697, around 100 years before the painting. The painting is a collaborative work of Bihyeon and Kwaeyun in the 2nd year of King Jeongjo of the Joseon Dynasty (1778).

It is an invaluable piece showing the characteristics of the paintings drawn in the late 18th century, such as the Buddha with small features and broad, square shoulders, a yukgye that is spread out to the side, a large-sized gyeju on top of the hair and a chigyeon around the ankle.

WIKIPEDIA

La serie busca construir historias ficticias basadas en idilios del pasado, esto surge por la falta de pruebas tangibles o vestigios fotográficos con las ex parejas debido a los juicios sociales en los que ellos se verían inmersos si se mostrara afecto homosexual en público.

El discurso tiene dos vías, la producción de puestas en escena donde se muestra la utopía o deseos románticos jamás cumplidos y un diario en el que concibo un amor imaginario que permite llenar el vacío de la memoria fotográfica que valide una inefable relación amorosa.

The tangible phenomena we scrutinize with our reason, the sacred and indemonstrable we overhear with the sense of the ineffable. The force that inspires readiness for self-sacrifice, the thoughts that breed humility within and beyond the mind, are not identical with the logician’s craftsmanship. The purity of which we never cease to dream, the untold things we insatiably love, the vision of the good for which we either die or perish alive—no reason can bound. It is the ineffable from which we draw the taste of the sacred, the joy of the imperishable.

-Abraham Joshua Heschel, MNA, pg. 9

A.Chomette, G.Coppin et G.Cliquet (photo: J-C.Quéffélec)

"Sólo existe el amor. Las otras cosas nobles apenas sirven para dignificarlo... Algunos hombres jamás lo encuentran. Para otros es apenas una estrella fugaz que ilumina un año, un mes, una semana o un día en sus vidas. Pero ese destello efímero da significado a la existencia toda. Bienaventurado el que puede sentir en su carne y en su espíritu el fuego de esa chispa" Alejandro Dolina

Sin embargo, a veces ese destello efímero se concreta, toma forma, y nueve meses después se vuelve tangible y eterno.

Modelos: Fabi, Marce y... Mayca: felicitaciones.

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Agradezco la gentileza de Nico Naso en transcribir y prestarme el texto de Dolina.

The energy was tangible at this year's PMA Fresh Connections: Retail! Over 170 attendees gathered April 11-12 at the Philadelphia Airport Marriott to make new connections and gain new business solutions. From the cocktail reception and immersive UnConference to the optional Produce Rescue Glean and Produce Retail Tour, attendees were surrounded by peers and potential partners at every turn, and the buzz could be felt over the entire two days.

The Jones boy loved the yellow in his moth-

er's garden, bordered by forsythia.

In every book he owned, beneath the cov-

er, we found yellow blossoms pressed there, the

preserved connection, tangible... the truth

of home when out beyond the marches where

the stars mean trouble, denizens are ruth-

less, and one planet has a little air

compatible with us. Young Jones defied

the order to embark when radar spot-

ted visitors - the ruthless kind. We tried

our best to circle back, but it got hot.

We laid the boy to rest there. And each spring

his star-crossed grove grows golden... blossoming...

© Keith Ward 2009

Hit Head On

Take a look at the image in the large or the original size, if you like.

I've been wanting to create some retro 50s-style rocketship images. I started out as described here. That only whetted my appetite. The next day I tied a string to the bottle-opener on the bottom of a reproduction cast iron retro spaceship I had on a kitchen shelf. Then I held the thing high (by the string) and dangled it toward my camera, in a stripe of bright sunlight from a window, and with the mostly blank ceiling for a backdrop. I figured I could erase my arm, the string and the bottle opener itself later on with Photoshop. It actually turned out great that all of those three elements were in the picture. I wound up reworking them into "smoke" trailing from the rocket! (Hurray for bright ideas!) I experimented with every filter and feature in Photoshop Elements to find the best one for the effect I was trying for - that 50s-style pulp magazine illustration look. I decided on the fresco filter (settings: 5,10,2). Looks good, eh?

After composing "Forsythia" today, I added a patch of the yellow-flowering shrub to the planet's surface in a compositionally artful location. And there you have it. Except for one more thing. I wrote a dozen ending couplets to the sonnet, making the hard choice and picking the one you read above. In case you're interested, here are some of the runners-up:

His body lies beneath a blossoming

forsythia, bright golden every spring.

He couldn’t leave. Not then... in early spring.

His prized forsythia were blossoming.

A year has passed, and in the blossoming

forsythia are ashes scattering.

We found his bones among the blossoming

forsythia he wouldn’t leave... till spring...

His body lies beneath a blossoming

forsythia. It brings him home each spring.

We buried him beneath the blossoming

forsythia he couldn’t leave in spring.

Click here for more about this series, SF Sonnets.

A visit with Alex Beim and his staff at the Tangible Interacton studios in Vancouver.

In the dunes of The Hague, where light can have such a tangible presence, Turrell created a place to gaze at the sky: ‘Celestial Vault' in Kijkduin. At the top of one of the rubble dunes, a bowl in the shape of an ellipse has been built, 30 meters wide and 40 meters long. A wall of earth, approximately 5 meters high encloses the bowl. In order to reach this artificial crater you first climb up the dune on wooden stairs and then walk through a six meter long concrete passageway. The slopes on the inside of the crater have been sown with grass and a monumental natural stone bench is in the middle on which two people can lie back and observe how the sky is a vault. A similar bench is located on a higher dune where a panorama unfolds over the sea, the beach and the flat countryside beyond. In the direction of the horizon, the vault gradually becomes flatter. For Turrell, light and space themselves are the object and one of the points he wants to make is that, during the act of observation, the observer should experience that he/she is observing.

www.stroom.nl/nl/kor/project.php?pr_id=4616026

en.wikipedia.org/wiki/James_Turrell

SandScape is a tangible interface for designing and understanding landscapes through a variety of computational simulations using sand. Users view these simulations as they are projected on the surface of a sand model that represents the terrain. The users can choose from a variety of different simulations that highlight either the height, slope, contours, shadows, drainage or aspect of the landscape model.

credit: Florian Voggeneder

Seattle to Portland, Coast Starlight.

Photography by Arcadia Nightfire

MDR Photo Studio

Pose: Long Awkward Pose - I Do Declare

Skin: Celestial Studios - Charmed Skin 20 (Glitter- Silver 2)

Eyes: Eye AC - darkturquoise

Hair: Abyss - Secret, Blood

Manicure: Sin Skins - Glitter Manicure, Crimson

Pedicure: Candy Nail - #0000 Basic Toenails Red

Lingerie: Blacklace - Tangible Dreams, Red Velvet

Jewelry: Inks & Kinks - Nostril Diamond Stud

Caroline's - Individual, A Right Hand Ring

Earthstones - Floating Circles Necklace

Shoes: ZHAO - Lucia, Black

In-tangible. Ritual frío-cálido

15 de mayo - 26 de julio, 2003

Salas I, II, III, IV y Pila de la Melaza

Artistas: Regina Aguilar, Brooke Alfaro, Finn Thybo Andersen, Patricia Belli, Rosan Bosch, Donna Conlon, sila Chanto, Isabel de Obaldía, Kirsten Dufour, Dario Escobar, Ida F. Ferdinand, Anja Franke, Luis González Palma, Cristina Gozzini, Gillion Grantsaan, José Alberto Hernández, Federico Herrero, Thyra Hilden, Frans Jacobi, Marisel Jiménez, Marianne Jørgensen, Tiina Ketara, Bodil Nielsen, Luis Paredes, Jesper Rasmussen, Joaquín Rodríguez del Paso, Lisa Rosenmeier, Isabel Ruíz, Åsa Sonjasdotter, Cinthya Soto, Jaime David Tischler, Charlotte von Poehl, Emilia Villegas.

Curaduría y coordinación general: Rolando Barahona-Sotela

Asesoría de investigación: Sanne Kofod Olsen

Asistencia de coordinación en Escandinavia: Ida Ferdinand . Asistencia de curaduría: María José Monge.

Patrocinadores: Danish Center for Culture and Development, Danish Contemporary Art Foundation, Danish Secretariat for International Cultural Relations: MADC, Costa Rica, NISSAN-Agencia DATSUN.

Part of a Set / Slideshow documenting an installation by Claire Simpson.

There is also a YouTube video.

Claire Simpson's Performance & Visual Art (Dance) Degree Show 2012 - Tangible Light - at the University of Brighton. The piece is an installation using the materials of light, colour and theatrical smoke / mist to create the physical and tangible illusion of light. Video projectors were used to project relatively simple geometric moving shapes. This created the illusion of solid cones and planes of light.

This image / video is available under the indicated creative commons licence - subject to the approval of the artist(s) featured - and also subject to any additional conditions that the artist(s) may wish to apply.

Masjid Ar-Rahman or popularly known as Old Mulong Mosque is one of the tangible heritage that have been conserved over the year.

In Malay language, it is called as Masjid Lama Mulong or known as Masjid Ar-Rahman by the local residents are one of the local heritage buildings. The building was formerly known as a madrasa or Islamic studies center for residents who lived around the Mulong area in Kelantan. The old mosque had changed from the dilapidated building it was to a now beautifully-sculpted building rich in Islamic history.

Moreover, the Ministry of Information, Communications, Arts and Culture´s Department of National Heritage works with the help of local practitioners of traditional arts had taken on the challenge of meticulously restoring this mosque to its former glory.

The early history tells that the old mosque building was originally not built specifically as a building a mosque but Balairong Seri or Royal Highness place which is used for as the King owned by the Raja Dewa. Raja Dewa is the title of the Tuan Zainal Abidin who is a son of Sultan Muhammad III and brother of father Sultan Muhammmad IV.

In addition, the original position of the building is in the village of Kings in Kota Bharu is located near the Istana Jahar and Istana Balai Besar. But in 1958, it was purchased by the villagers Store Mulong at 1000 and moved to the Village Shop Mulong to be used as prayer rooms to this day. Plus, the structure of the floor and the roof would have been cut to facilitate the work of the migration Store Mulong. Balairong Seri subsequently reinstalled local people teamwork basis with the addition of the "Mihrab" and porch in space.

Besides, some new additions are carried out from time to time until changed the look of its real. But as a result of visits made by Dato ' Commissioner of Heritage in 2007 and seeing how the tasteful art carpentry Malay can be displayed to the public today, and also in terms of its history which is part the Kelantan Royal Palace, national heritage Department, has taken the initiative to undertake conservation against the building. Conservation work was initiated at the end of 2008 and was completed in early 2009.

Source: The information is taken and adapted from the Official Website of National Heritage Council, www.heritage.gov.my/index.php/en/conservation/conservatio... on 06/10/2016