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Reinterpretations and interrelated contexts create new modalities of perception and understanding, leading to the rediscovery of the self and human commonalities beyond local realities and globalized stereotypes. Transcending simple technological transfer – or re-mediation – transmediation entails the reinvention of a previously created artwork in order to produce a new work that is still the same work. Through the process of redefining the artwork’s material and conceptual elements in response to the opportunities and constraints of new technology, transmediation serves as a translation process that sees the new medium into which the artwork is being transferred as an entirely new space that requires alterations – at times drastically different from its original version – in the aesthetic conceptualizations of the artwork as well as its material manifestation.
This approach informed the curatorial framework of the exhibition Dislocations; curated by Lanfranco Aceti and presented in conjunction with ISEA2011, the 12th Istanbul Biennial and the Museum of Contemporary Art (MSU) in Zagreb, Croatia. Dislocations featured the work of Charles Csuri, David Cotterrell, Danielle Roney and Jeff Conefry, Mathias Fuchs and Songül Boyraz.
The artworks were presented on the media facade of the MSU on a weekly basis to coincide with the biennial program. By being presented across the Internet and publicized in the biennial’s press package, the exhibition was simultaneously linked to and disjointed from the events taking place in Istanbul. Conceived as part of a larger curatorial concept – the dislocation and re-allocation of artworks as part of locus focused biennials – Dislocations responded to a globalized perspective of new-media frameworks of participations under meta-umbrella events.
The main feature of this exhibition was the world premiere of a new transmediated version of digital pioneer Charles Csuri ‘s celebrated work Random War (1967). Arguably one of the most important works of the twentieth century, Random War stands at the convergence of Csuri’s formative computer art practice and the social upheaval centered upon the Vietnam War in the late 1960s. Executed using a mainframe computer, pressing keys, punch cards and drum plotters, Csuri’s drawing captures the chaos of the battlefield by using a random number generator to locate the iconic motif of the “little green army man” on the the printed page. Above this chaotic scene of absurdly rotated and overlapping figures, the artist listed the names of various Ohio State University administrators and faculty staff, along with famous people (including future presidents Gerald Ford and Ronald Reagan) under the headings of Dead, Wounded, Missing and Survivors.
While representative of themes that would continue to shape and define Charles Csuri’s art (such as object transformation, randomness and hierarchical levels of control), Random War stands simultaneously as an enduring testimonial and prescient reminder of the ‘creative partnership’ formed between artist and computer.
(Note: Selected extracts from Lanfranco Aceti, ‘Dislocations: Questions of War, Place, Trauma and Context in the Transmediations of Art on Public Giant Screens’ have been reworked as part of this introduction, while art historical and biographic details have been drawn from The Charles A. Csuri Project [csuriproject.osu.edu/].)
Vince Dziekan
Digital Media Curator, Leonardo Electronic Almanac
Senior Curators:
Lanfranco Aceti
Director and Senior Curator, Kasa Gallery, Sabanci University
Christiane Paul
Curator of New Media Arts at the Whitney Museum of American Art
Featured Artist and collaborators:
Charles A. Csuri is best known for pioneering the field of computer graphics, computer animation and digital fine art. His experimentation with computer graphics technology began in 1964. A year later he began creating computer-animated films, and in 1967 he was awarded the prize for animation at the 4th International Experimental Film Festival in Brussels, Belgium. His work featured in the benchmark exhibition Cybernetic Serendipity held at The Institute for Contemporary Art, London, England, in 1968. As testimony to the importance of his work in the emerging field of electronic media arts, he has exhibited in the 42nd Venice Biennale (1986) and been awarded Ars Electronica prizes in 1989 and 1990. Csuri was the recipient of The Distinguished Artist Award for Lifetime Achievement in Digital Art from SIGGRAPH in 2011.
Csuri is widely recognized as the father of digital art (Smithsonian Magazine), pioneer of computer animation (Museum of Modern Art) and as the first artist to receive funding from the National Science Foundation (NSF). He founded the Computer Graphics Research Group (CGRG), the Ohio Super Computer Graphics Project, and the Advanced Computing Center for Art and Design (ACCAD). In 2000, he received both the Governor’s Award and The Ohio State University Sullivant Award in acknowledgment of his lifetime achievements in the fields of digital art and computer animation.
CURATORS’ NOTE
The first two images presented in this exhibition are drawn from the The Charles A. Csuri Project database, an online resource that documents and historically contextualizes the art, writings and major life events of pioneering computer artist Charles Csuri, from 1945 to the present. [csuriproject.osu.edu/]
The project was established in 199 by The Ohio State University (OSU), in order to preserve, organize and publicly disseminate a digital record of the pioneering role of computer artist and Ohio State Emeritus Professor Charles A. Csuri in the field of computer graphics. The images and animations included in the database document both traditional and computer art from 1945 to present along with works created by his students, particularly those associated with the Computer Graphics Research Group (CGRG) and Cranston/Csuri Productions, Inc. (CCP). Textual information is based on original research and extensive interviews with the artist and his colleagues, and continues to be updated and expanded. The Csuri Project at OSU is supported by the Advanced Computing Center for the Arts and Design (ACCAD) and the College of the Arts, and is housed at ACCAD.
LEA International Curatoriate
Lanfranco Aceti, Christiane Paul & Vince Dziekan
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The International Colloquium Cities in the age of technological reproducibility. Digital Culture - Architecture and Identity took place at ISCTE-IUL B2.04 auditorium on may 9th of 2017.
Programa
17h | Abertura
Nuno Guimarães, ISTAR-IUL, ISCTE-IUL
Pedro Costa, Dinamia’CET, ISCTE-IUL
17h 15 | Introdução
Paulo Tormenta Pinto, Dinamia’CET, ISCTE-IUL
Alexandra Paio, ISTAR-IUL, VFABLAB-IUL, ISCTE-IUL
17h 30 | Keynote speaker
Mark burry, Univ. of Melbourne
19h 30 | Talks
José Pedro Sousa, DFL, Fac. Arquitetura.Univ.Porto
João ROCHA, Dept. Arquitectura. Univ.Évora Spaceworkers, Porto
Campos Costa arquitetos, Lisboa
Technological developments in the area of AI take place primarily in the civil domain. Any discussion of this topic should seek to avoid compartmentalisation, instead aiming for a broad multilateral and multi-stakeholder approach that includes both the public and the private domains.
With this in mind, the summit will bring together high-level representatives of government bodies, civil society organisations, knowledge institutions and the private sector in order to discuss the key opportunities, challenges and risks associated with military applications of AI.
Photo: Ministry of Foreign Affairs / Henriette Guest
Tel Aviv-Yafo usually referred to as just Tel Aviv, is the most populous city in the Gush Dan metropolitan area of Israel. Located on the Israeli Mediterranean coastline and with a population of 467,875, it is the economic and technological center of the country. If East Jerusalem is considered part of Israel, Tel Aviv is the country's second-most-populous city, after Jerusalem; if not, Tel Aviv is the most populous city, ahead of West Jerusalem.
Tel Aviv is governed by the Tel Aviv-Yafo Municipality, headed by Mayor Ron Huldai, and is home to most of Israel's foreign embassies. It is a beta+ world city and is ranked 57th in the 2022 Global Financial Centres Index. Tel Aviv has the third- or fourth-largest economy and the largest economy per capita in the Middle East. The city currently has the highest cost of living in the world. Tel Aviv receives over 2.5 million international visitors annually. A "party capital" in the Middle East, it has a lively nightlife and 24-hour culture. The city is gay-friendly, with a large LGBT community. Tel Aviv is home to Tel Aviv University, the largest university in the country with more than 30,000 students.
The city was founded in 1909 by the Yishuv (Jewish residents) and initially given the Hebrew name Ahuzat Bayit (Hebrew: אחוזת בית, romanized: ʔAħuzat Bayit, lit. 'House Estate' or 'Homestead'), namesake of the Jewish association which established the neighbourhood as a modern housing estate on the outskirts of the ancient port city of Jaffa (Yafo in Hebrew), then part of the Mutasarrifate of Jerusalem within the Ottoman Empire. Its name was changed the following year to Tel Aviv, after the biblical name Tel Abib (lit. "Tell of Spring") adopted by Nahum Sokolow as the title for his Hebrew translation of Theodor Herzl's 1902 novel Altneuland ("Old New Land"). Other Jewish suburbs of Jaffa had been established before Tel Aviv, the oldest among them being Neve Tzedek. Tel Aviv was given township status within the Jaffa Municipality in 1921, and became independent from Jaffa in 1934. Immigration by mostly Jewish refugees meant that the growth of Tel Aviv soon outpaced that of Jaffa, which had a majority Arab population at the time. In 1948 the Israeli Declaration of Independence was proclaimed in the city. After the 1947–1949 Palestine war, Tel Aviv began the municipal annexation of parts of Jaffa, fully unified with Jaffa under the name Tel Aviv in April 1950, and was formally renamed to Tel Aviv-Yafo in August 1950.
Tel Aviv's White City, designated a UNESCO World Heritage Site in 2003, comprises the world's largest concentration of International Style buildings, including Bauhaus and other related modernist architectural styles. Popular attractions include Jaffa Old City, the Eretz Israel Museum, the Museum of Art, Hayarkon Park, and the city's promenade and beach.
Etymology and origins
Tel Aviv is the Hebrew title of Theodor Herzl’s 1902 novel Altneuland ("Old New Land"), as translated from German by Nahum Sokolow. Sokolow had adopted the name of a Mesopotamian site near the city of Babylon mentioned in Ezekiel: "Then I came to them of the captivity at Tel Abib [Tel Aviv], that lived by the river Chebar, and to where they lived; and I sat there overwhelmed among them seven days." The name was chosen in 1910 from several suggestions, including "Herzliya". It was found fitting as it embraced the idea of a renaissance in the ancient Jewish homeland. Aviv (אביב, or Abib) is a Hebrew word that can be translated as "spring", symbolizing renewal, and tell (or tel) is an artificial mound created over centuries through the accumulation of successive layers of civilization built one over the other and symbolizing the ancient.
Although founded in 1909 as a small settlement on the sand dunes north of Jaffa, Tel Aviv was envisaged as a future city from the start. Its founders hoped that in contrast to what they perceived as the squalid and unsanitary conditions of neighbouring Arab towns, Tel Aviv was to be a clean and modern city, inspired by the European cities of Warsaw and Odesa. The marketing pamphlets advocating for its establishment stated:
In this city we will build the streets so they have roads and sidewalks and electric lights. Every house will have water from wells that will flow through pipes as in every modern European city, and also sewerage pipes will be installed for the health of the city and its residents.
— Akiva Arieh Weiss, 1906
History
The walled city of Jaffa is modern-day Tel Aviv-Yafo's only urban centre that existed in early modern times. Jaffa was an important port city in the region for millennia. Archaeological evidence shows signs of human settlement there starting in roughly 7,500 BC. The city was established around 1,800 BC at the latest. Its natural harbour has been used since the Bronze Age. By the time Tel Aviv was founded as a separate city during Ottoman rule of the region, Jaffa had been ruled by the Canaanites, Egyptians, Philistines, Israelites, Assyrians, Babylonians, Persians, Phoenicians, Ptolemies, Seleucids, Hasmoneans, Romans, Byzantines, the early Islamic caliphates, Crusaders, Ayyubids, and Mamluks before coming under Ottoman rule in 1515. It had been fought over numerous times. The city is mentioned in ancient Egyptian documents, as well as the Hebrew Bible.
Other ancient sites in Tel Aviv include: Tell Qasile, Tel Gerisa, Abattoir Hill, Tel Hashash, and Tell Qudadi.
During the First Aliyah in the 1880s, when Jewish immigrants began arriving in the region in significant numbers, new neighborhoods were founded outside Jaffa on the current territory of Tel Aviv. The first was Neve Tzedek, founded in 1887 by Mizrahi Jews due to overcrowding in Jaffa and built on lands owned by Aharon Chelouche. Other neighborhoods were Neve Shalom (1890), Yafa Nof (1896), Achva (1899), Ohel Moshe (1904), Kerem HaTeimanim (1906), and others. Once Tel Aviv received city status in the 1920s, those neighborhoods joined the newly formed municipality, now becoming separated from Jaffa.
1904–1917: Foundation in Late Ottoman period
The Second Aliyah led to further expansion. In 1906, a group of Jews, among them residents of Jaffa, followed the initiative of Akiva Aryeh Weiss and banded together to form the Ahuzat Bayit (lit. "homestead") society. One of the society's goals was to form a "Hebrew urban centre in a healthy environment, planned according to the rules of aesthetics and modern hygiene". The urban planning for the new city was influenced by the garden city movement. The first 60 plots were purchased in Kerem Djebali near Jaffa by Jacobus Kann, a Dutch citizen, who registered them in his name to circumvent the Turkish prohibition on Jewish land acquisition.[34] Meir Dizengoff, later Tel Aviv's first mayor, also joined the Ahuzat Bayit society. His vision for Tel Aviv involved peaceful co-existence with Arabs.
On 11 April 1909, 66 Jewish families gathered on a desolate sand dune to parcel out the land by lottery using seashells. This gathering is considered the official date of the establishment of Tel Aviv. The lottery was organised by Akiva Aryeh Weiss, president of the building society. Weiss collected 120 sea shells on the beach, half of them white and half of them grey. The members' names were written on the white shells and the plot numbers on the grey shells. A boy drew names from one box of shells and a girl drew plot numbers from the second box. A photographer, Abraham Soskin (b. 1881 in Russia, made aliyah 1906), documented the event. The first water well was later dug at this site, located on what is today Rothschild Boulevard, across from Dizengoff House. Within a year, Herzl, Ahad Ha'am, Yehuda Halevi, Lilienblum, and Rothschild streets were built; a water system was installed; and 66 houses (including some on six subdivided plots) were completed. At the end of Herzl Street, a plot was allocated for a new building for the Herzliya Hebrew High School, founded in Jaffa in 1906. The cornerstone for the building was laid on 28 July 1909. The town was originally named Ahuzat Bayit. On 21 May 1910, the name Tel Aviv was adopted. The flag and city arms of Tel Aviv (see above) contain under the red Star of David 2 words from the biblical book of Jeremiah: "I (God) will build You up again and you will be rebuilt." (Jer 31:4) Tel Aviv was planned as an independent Hebrew city with wide streets and boulevards, running water for each house, and street lights.
By 1914, Tel Aviv had grown to more than 1 km2 (247 acres). In 1915 a census of Tel Aviv was conducted, recording a population 2,679. However, growth halted in 1917 when the Ottoman authorities expelled the residents of Jaffa and Tel Aviv as a wartime measure. A report published in The New York Times by United States Consul Garrels in Alexandria, Egypt described the Jaffa deportation of early April 1917. The orders of evacuation were aimed chiefly at the Jewish population. Jews were free to return to their homes in Tel Aviv at the end of the following year when, with the end of World War I and the defeat of the Ottomans, the British took control of Palestine.
The town had rapidly become an attraction to immigrants, with a local activist writing:
The immigrants were attracted to Tel Aviv because they found in it all the comforts they were used to in Europe: electric light, water, a little cleanliness, cinema, opera, theatre, and also more or less advanced schools... busy streets, full restaurants, cafes open until 2 a.m., singing, music, and dancing.
British administration 1917–34: Townships within the Jaffa Municipality
A master plan for the Tel Aviv township was created by Patrick Geddes, 1925, based on the garden city movement. The plan consisted of four main features: a hierarchical system of streets laid out in a grid, large blocks consisting of small-scale domestic dwellings, the organization of these blocks around central open spaces, and the concentration of cultural institutions to form a civic center.
Tel Aviv, along with the rest of the Jaffa municipality, was conquered by the British imperial army in late 1917 during the Sinai and Palestine Campaign of World War I and became part of British-administered Mandatory Palestine until 1948.
Tel Aviv, established as suburb of Jaffa, received "township" or local council status within the Jaffa Municipality in 1921. According to a census conducted in 1922 by the British Mandate authorities, Tel Aviv had a population of 15,185 (15,065 Jews, 78 Muslims and 42 Christians). The population increased in the 1931 census to 46,101 (45,564 Jews, 288 with no religion, 143 Christians, and 106 Muslims), in 12,545 houses.
With increasing Jewish immigration during the British administration, friction between Arabs and Jews in Palestine increased. On 1 May 1921, the Jaffa riots resulted in the deaths of 48 Arabs and 47 Jews and injuries to 146 Jews and 73 Arabs. In the wake of this violence, many Jews left Jaffa for Tel Aviv. The population of Tel Aviv increased from 2,000 in 1920 to around 34,000 by 1925.
Tel Aviv began to develop as a commercial center. In 1923, Tel Aviv was the first town to be wired to electricity in Palestine, followed by Jaffa later in the same year. The opening ceremony of the Jaffa Electric Company powerhouse, on 10 June 1923, celebrated the lighting of the two main streets of Tel Aviv.
In 1925, the Scottish biologist, sociologist, philanthropist and pioneering town planner Patrick Geddes drew up a master plan for Tel Aviv which was adopted by the city council led by Meir Dizengoff. Geddes's plan for developing the northern part of the district was based on Ebenezer Howard's garden city movement. While most of the northern area of Tel Aviv was built according to this plan, the influx of European refugees in the 1930s necessitated the construction of taller apartment buildings on a larger footprint in the city.
Ben Gurion House was built in 1930–31, part of a new workers' housing development. At the same time, Jewish cultural life was given a boost by the establishment of the Ohel Theatre and the decision of Habima Theatre to make Tel Aviv its permanent base in 1931.
1934 municipal independence from Jaffa
Tel Aviv was granted the status of an independent municipality separate from Jaffa in 1934. The Jewish population rose dramatically during the Fifth Aliyah after the Nazis came to power in Germany. By 1937 the Jewish population of Tel Aviv had risen to 150,000, compared to Jaffa's mainly Arab 69,000 residents. Within two years, it had reached 160,000, which was over a third of Palestine's total Jewish population. Many new Jewish immigrants to Palestine disembarked in Jaffa, and remained in Tel Aviv, turning the city into a center of urban life. Friction during the 1936–39 Arab revolt led to the opening of a local Jewish port, Tel Aviv Port, independent of Jaffa, in 1938. It closed on 25 October 1965. Lydda Airport (later Ben Gurion Airport) and Sde Dov Airport opened between 1937 and 1938.
Many German Jewish architects trained at the Bauhaus, the Modernist school of architecture in Germany, and left Germany during the 1930s. Some, like Arieh Sharon, came to Palestine and adapted the architectural outlook of the Bauhaus and similar schools to the local conditions there, creating what is recognized as the largest concentration of buildings in the International Style in the world.
Tel Aviv's White City emerged in the 1930s, and became a UNESCO World Heritage Site in 2003. During World War II, Tel Aviv was hit by Italian airstrikes on 9 September 1940, which killed 137 people in the city.
The village statistics of 1938 listed Tel Aviv's population as 140,000, all Jews. The village statistics of 1945 listed Tel Aviv's population as 166,660 (166,000 Jews, 300 "other", 230 Christians, and 130 Muslims).
During the Jewish insurgency in Mandatory Palestine, Jewish Irgun and Lehi guerrillas launched repeated attacks against British military, police, and government targets in the city. In 1946, following the King David Hotel bombing, the British carried out Operation Shark, in which the entire city was searched for Jewish militants and most of the residents questioned, during which the entire city was placed under curfew. During the March 1947 martial law in Mandatory Palestine, Tel Aviv was placed under martial law by the British authorities for 15 days, with the residents kept under curfew for all but three hours a day as British forces scoured the city for militants. In spite of this, Jewish guerrilla attacks continued in Tel Aviv and other areas under martial law in Palestine.
According to the 1947 UN Partition Plan for dividing Palestine into Jewish and Arab states, Tel Aviv, by then a city of 230,000, was to be included in the proposed Jewish state. Jaffa with, as of 1945, a population of 101,580 people—53,930 Muslims, 30,820 Jews and 16,800 Christians—was designated as part of the Arab state. Civil War broke out in the country and in particular between the neighbouring cities of Tel Aviv and Jaffa, which had been assigned to the Jewish and Arab states respectively. After several months of siege, on 13 May 1948, Jaffa fell and the Arab population fled en masse.
State of Israel
When Israel declared Independence on 14 May 1948, the population of Tel Aviv was over 200,000. Tel Aviv was the temporary government center of the State of Israel until the government moved to Jerusalem in December 1949. Due to the international dispute over the status of Jerusalem, most embassies remained in or near Tel Aviv. The boundaries of Tel Aviv and Jaffa became a matter of contention between the Tel Aviv municipality and the Israeli government in 1948. The former wished to incorporate only the northern Jewish suburbs of Jaffa, while the latter wanted a more complete unification. The issue also had international sensitivity, since the main part of Jaffa was in the Arab portion of the United Nations Partition Plan, whereas Tel Aviv was not, and no armistice agreements had yet been signed. On 10 December 1948, the government announced the annexation to Tel Aviv of Jaffa's Jewish suburbs, the Palestinian neighborhood of Abu Kabir, the Arab village of Salama and some of its agricultural land, and the Jewish Hatikva slum. On 25 February 1949, the depopulated Palestinian village of al-Shaykh Muwannis was also annexed to Tel Aviv. On 18 May 1949, Manshiya and part of Jaffa's central zone were added, for the first time including land that had been in the Arab portion of the UN partition plan. The government voted on the unification of Tel Aviv and Jaffa on 4 October 1949, but the decision was not implemented until 24 April 1950 due to the opposition of Tel Aviv mayor Israel Rokach. The name of the unified city was Tel Aviv until 19 August 1950, when it was renamed Tel Aviv-Yafo in order to preserve the historical name Jaffa. Tel Aviv thus grew to 42 km2 (16.2 sq mi). In 1949, a memorial to the 60 founders of Tel Aviv was constructed.
In the 1960s, some of the older buildings were demolished, making way for the country's first high-rises. The historic Herzliya Hebrew Gymnasium was controversially demolished, to make way for the Shalom Meir Tower, which was completed in 1965, and remained Israel's tallest building until 1999. Tel Aviv's population peaked in the early 1960s at 390,000, representing 16 percent of the country's total. By the early 1970s, Tel Aviv had entered a long and steady period of continuous population decline, which was accompanied by urban decay. By 1981, Tel Aviv had entered not just natural population decline, but an absolute population decline as well. In the late 1980s the city had an aging population of 317,000. Construction activity had moved away from the inner ring of Tel Aviv, and had moved to its outer perimeter and adjoining cities. A mass out-migration of residents from Tel Aviv, to adjoining cities like Petah Tikva and Rehovot, where better housing conditions were available, was underway by the beginning of the 1970s, and only accelerated by the Yom Kippur War. Cramped housing conditions and high property prices pushed families out of Tel Aviv and deterred young people from moving in. From the beginning of 1970s, the common image of Tel Aviv became that of a decaying city, as Tel Aviv's population fell 20%.
In the 1970s, the apparent sense of Tel Aviv's urban decline became a theme in the work of novelists such as Yaakov Shabtai, in works describing the city such as Sof Davar (The End of Things) and Zikhron Devarim (The Memory of Things). A symptomatic article of 1980 asked "Is Tel Aviv Dying?" and portrayed what it saw as the city's existential problems: "Residents leaving the city, businesses penetrating into residential areas, economic and social gaps, deteriorating neighbourhoods, contaminated air – Is the First Hebrew City destined for a slow death? Will it become a ghost town?". However, others saw this as a transitional period. By the late 1980s, attitudes to the city's future had become markedly more optimistic. It had also become a center of nightlife and discotheques for Israelis who lived in the suburbs and adjoining cities. By 1989, Tel Aviv had acquired the nickname "Nonstop City", as a reflection of the growing recognition of its nightlife and 24/7 culture, and "Nonstop City" had to some extent replaced the former moniker of "First Hebrew City". The largest project built in this era was the Dizengoff Center, Israel's first shopping mall, which was completed in 1983. Other notable projects included the construction of Marganit Tower in 1987, the opening of the Suzanne Dellal Center for Dance and Theater in 1989, and the Tel Aviv Cinematheque (opened in 1973 and located to the current building in 1989).
In the early 1980s, 13 embassies in Jerusalem moved to Tel Aviv as part of the UN's measures responding to Israel's 1980 Jerusalem Law. Today, most national embassies are located in Tel Aviv or environs. In the 1990s, the decline in Tel Aviv's population began to be reversed and stabilized, at first temporarily due to a wave of immigrants from the former Soviet Union. Tel Aviv absorbed 42,000 immigrants from the FSU, many educated in scientific, technological, medical and mathematical fields. In this period, the number of engineers in the city doubled. Tel Aviv soon began to emerge as a global high-tech center. The construction of many skyscrapers and high-tech office buildings followed. In 1993, Tel Aviv was categorized as a world city. However, the city's municipality struggled to cope with an influx of new immigrants. Tel Aviv's tax base had been shrinking for many years, as a result of its preceding long term population decline, and this meant there was little money available at the time to invest in the city's deteriorating infrastructure and housing. In 1998, Tel Aviv was on the "verge of bankruptcy". Economic difficulties would then be compounded by a wave of Palestinian suicide bombings in the city from the mid-1990s, to the end of the Second Intifada, as well as the dot-com bubble, which affected the city's rapidly growing hi-tech sector. On 4 November 1995, Israel's prime minister, Yitzhak Rabin, was assassinated at a rally in Tel Aviv in support of the Oslo peace accord. The outdoor plaza where this occurred, formerly known as Kikar Malchei Yisrael, was renamed Rabin Square.
In the Gulf War in 1991, Tel Aviv was attacked by Scud missiles from Iraq. Iraq hoped to provoke an Israeli military response, which could have destroyed the US–Arab alliance. The United States pressured Israel not to retaliate, and after Israel acquiesced, the US and Netherlands rushed Patriot missiles to defend against the attacks, but they proved largely ineffective. Tel Aviv and other Israeli cities continued to be hit by Scuds throughout the war, and every city in the Tel Aviv area except for Bnei Brak was hit. A total of 74 Israelis died as a result of the Iraqi attacks, mostly from suffocation and heart attacks, while approximately 230 Israelis were injured. Extensive property damage was also caused, and some 4,000 Israelis were left homeless. It was feared that Iraq would fire missiles filled with nerve agents or sarin. As a result, the Israeli government issued gas masks to its citizens. When the first Iraqi missiles hit Israel, some people injected themselves with an antidote for nerve gas. The inhabitants of the southeastern suburb of Hatikva erected an angel-monument as a sign of their gratitude that "it was through a great miracle, that many people were preserved from being killed by a direct hit of a Scud rocket."
Since the First Intifada, Tel Aviv has suffered from Palestinian political violence. The first suicide attack in Tel Aviv occurred on 19 October 1994, on the Line 5 bus, when a bomber killed 22 civilians and injured 50 as part of a Hamas suicide campaign. On 6 March 1996, another Hamas suicide bomber killed 13 people (12 civilians and 1 soldier), many of them children, in the Dizengoff Center suicide bombing. Three women were killed by a Hamas terrorist in the Café Apropo bombing on 27 March 1997.
One of the deadliest attacks occurred on 1 June 2001, during the Second Intifada, when a suicide bomber exploded at the entrance to the Dolphinarium discothèque, killing 21, mostly teenagers, and injuring 132. Another Hamas suicide bomber killed six civilians and injured 70 in the Allenby Street bus bombing. Twenty-three civilians were killed and over 100 injured in the Tel Aviv central bus station massacre. Al-Aqsa Martyrs Brigades claimed responsibility for the attack. In the Mike's Place suicide bombing, an attack on a bar by a British Muslim suicide bomber resulted in the deaths of three civilians and wounded over 50. Hamas and Al Aqsa Martyrs Brigades claimed joint responsibility. An Islamic Jihad bomber killed five and wounded over 50 on 25 February 2005 Stage Club bombing. The most recent suicide attack in the city occurred on 17 April 2006, when 11 people were killed and at least 70 wounded in a suicide bombing near the old central bus station.
Another attack took place on 29 August 2011 in which a Palestinian attacker stole an Israeli taxi cab and rammed it into a police checkpoint guarding the popular Haoman 17 nightclub in Tel Aviv which was filled with 2,000 Israeli teenagers. After crashing, the assailant went on a stabbing spree, injuring eight people. Due to an Israel Border Police roadblock at the entrance and immediate response of the Border Police team during the subsequent stabbings, a much larger and fatal mass-casualty incident was avoided.
On 21 November 2012, during Operation Pillar of Defense, the Tel Aviv area was targeted by rockets, and air raid sirens were sounded in the city for the first time since the Gulf War. All of the rockets either missed populated areas or were shot down by an Iron Dome rocket defense battery stationed near the city. During the operation, a bomb blast on a bus wounded at least 28 civilians, three seriously. This was described as a terrorist attack by Israel, Russia, and the United States and was condemned by the United Nations, United States, United Kingdom, France and Russia, whilst Hamas spokesman Sami Abu Zuhri declared that the organisation "blesses" the attack. More than 300 rockets were fired towards the Tel Aviv Metropolitan area in the 2021 Israel–Palestine crisis.
New laws were introduced to protect Modernist buildings, and efforts to preserve them were aided by UNESCO recognition of Tel Aviv's White City as a world heritage site in 2003. In the early 2000s, Tel Aviv municipality focused on attracting more young residents to the city. It made significant investment in major boulevards, to create attractive pedestrian corridors. Former industrial areas like the city's previously derelict Northern Tel Aviv Port and the Jaffa railway station, were upgraded and transformed into leisure areas. A process of gentrification began in some of the poor neighborhoods of southern Tel Aviv and many older buildings began to be renovated.
The demographic profile of the city changed in the 2000s, as it began to attract a higher proportion of young residents. By 2012, 28 percent of the city's population was aged between 20 and 34 years old. Between 2007 and 2012, the city's population growth averaged 6.29 percent. As a result of its population recovery and industrial transition, the city's finances were transformed, and by 2012 it was running a budget surplus and maintained a credit rating of AAA+. In the 2000s and early 2010s, Tel Aviv received tens of thousands of illegal immigrants, primarily from Sudan and Eritrea, changing the demographic profile of areas of the city. In 2009, Tel Aviv celebrated its official centennial. In addition to city- and country-wide celebrations, digital collections of historical materials were assembled. These include the History section of the official Tel Aviv-Yafo Centennial Year website; the Ahuzat Bayit collection, which focuses on the founding families of Tel Aviv, and includes photographs and biographies; and Stanford University's Eliasaf Robinson Tel Aviv Collection, documenting the history of the city. Today, the city is regarded as a strong candidate for global city status. Over the past 60 years, Tel Aviv had developed into a secular, liberal-minded center with a vibrant nightlife and café culture.
Geography
Tel Aviv is located around 32°5′N 34°48′E on the Israeli Mediterranean coastline, in central Israel, the historic land bridge between Europe, Asia and Africa. Immediately north of the ancient port of Jaffa, Tel Aviv lies on land that used to be sand dunes and as such has relatively poor soil fertility. The land has been flattened and has no important gradients; its most notable geographical features are bluffs above the Mediterranean coastline and the Yarkon River mouth. Because of the expansion of Tel Aviv and the Gush Dan region, absolute borders between Tel Aviv and Jaffa and between the city's neighborhoods do not exist.
The city is located 60 km (37 mi) northwest of Jerusalem and 90 km (56 mi) south of the city of Haifa. Neighboring cities and towns include Herzliya to the north, Ramat HaSharon to the northeast, Petah Tikva, Bnei Brak, Ramat Gan and Giv'atayim to the east, Holon to the southeast, and Bat Yam to the south. The city is economically stratified between the north and south. Southern Tel Aviv is considered less affluent than northern Tel Aviv with the exception of Neve Tzedek and northern and north-western Jaffa. Central Tel Aviv is home to Azrieli Center and the important financial and commerce district along Ayalon Highway. The northern side of Tel Aviv is home to Tel Aviv University, Hayarkon Park, and upscale residential neighborhoods such as Ramat Aviv and Afeka.
Environment
Tel Aviv is ranked as the greenest city in Israel. Since 2008, city lights are turned off annually in support of Earth Hour. In February 2009, the municipality launched a water saving campaign, including competition granting free parking for a year to the household that is found to have consumed the least water per person.
In the early 21st century, Tel Aviv's municipality transformed a derelict power station into a public park, now named "Gan HaHashmal" ("Electricity Park"), paving the way for eco-friendly and environmentally conscious designs. In October 2008, Martin Weyl turned an old garbage dump near Ben Gurion International Airport, called Hiriya, into an attraction by building an arc of plastic bottles.[120] The site, which was renamed Ariel Sharon Park to honor Israel's former prime minister, will serve as the centerpiece in what is to become a 2,000-acre (8.1 km2) urban wilderness on the outskirts of Tel Aviv, designed by German landscape architect, Peter Latz.
At the end of the 20th century, the city began restoring historical neighborhoods such as Neve Tzedek and many buildings from the 1920s and 1930s. Since 2007, the city hosts its well-known, annual Open House Tel Aviv weekend, which offers the general public free entrance to the city's famous landmarks, private houses and public buildings. In 2010, the design of the renovated Tel Aviv Port (Nemal Tel Aviv) won the award for outstanding landscape architecture at the European Biennial for Landscape Architecture in Barcelona.
In 2014, the Sarona Market Complex opened, following an 8-year renovation project of Sarona colony.
Tel Aviv has a Mediterranean climate (Köppen climate classification: Csa), and enjoys plenty of sunshine throughout the year. Most precipitation falls in the form of rain between the months of October and April, with intervening dry summers, and there is almost no rainfall from June to September. The average annual temperature is 20.9 °C (69.6 °F), and the average sea temperature is 18–20 °C (64–68 °F) during the winter, and 24–29 °C (75–84 °F) during the summer. The city averages 528 mm (20.8 in) of precipitation annually.
Summers in Tel Aviv last about five months, from June to October. August, the warmest month, averages a high of 30.6 °C (87.1 °F), and a low of 25 °C (77 °F). The high relative humidity due to the location of the city by the Mediterranean Sea, in a combination with the high temperatures, creates a thermal discomfort during the summer. Summer low temperatures in Tel Aviv seldom drop below 20 °C (68 °F).
Winters are mild and wet, with most of the annual precipitation falling within the months of December, January and February as intense rainfall and thunderstorms. In January, the coolest month, the average maximum temperature is 17.6 °C (63.7 °F), the minimum temperature averages 10.2 °C (50.4 °F). During the coldest days of winter, temperatures may vary between 8 °C (46 °F) and 12 °C (54 °F). Both freezing temperatures and snowfall are extremely rare in the city.
Autumns and springs are characterized by sharp temperature changes, with heat waves that might be created due to hot and dry air masses that arrive from the nearby deserts. During heatwaves in autumn and springs, temperatures usually climb up to 35 °C (95 °F) and even up to 40 °C (104 °F), accompanied with exceptionally low humidity. An average day during autumn and spring has a high of 23 °C (73 °F) to 25 °C (77 °F), and a low of 15 °C (59 °F) to 18 °C (64 °F).
The highest recorded temperature in Tel Aviv was 46.5 °C (115.7 °F) on 17 May 1916, and the lowest is −1.9 °C (28.6 °F) on 7 February 1950, during a cold wave that brought the only recorded snowfall in Tel Aviv.
Government
Tel Aviv is governed by a 31-member city council elected for a five-year term by in direct proportional elections, and a mayor elected for the same term by direct elections under a two-round system. Like all other mayors in Israel, no term limits exist for the Mayor of Tel Aviv. All Israeli citizens over the age of 17 with at least one year of residence in Tel Aviv are eligible to vote in municipal elections. The municipality is responsible for social services, community programs, public infrastructure, urban planning, tourism and other local affairs. The Tel Aviv City Hall is located at Rabin Square. Ron Huldai has been mayor of Tel Aviv since 1998. Huldai was reelected for a fifth term in the 2018 municipal elections, defeating former deputy Asaf Zamir, founder of the Ha'Ir party. Huldai's has become the longest-serving mayor of the city, exceeding Shlomo Lahat's 19-year term. The shortest-serving was David Bloch, in office for two years, 1925–27.
Politically, Tel Aviv is known to be a stronghold for the left, in both local and national issues. The left wing vote is especially prevalent in the city's mostly affluent central and northern neighborhoods, though not the case for its working-class southeastern neighborhoods which tend to vote for right wing parties in national elections. Outside the kibbutzim, Meretz receives more votes in Tel Aviv than in any other city in Israel.
Technological developments in the area of AI take place primarily in the civil domain. Any discussion of this topic should seek to avoid compartmentalisation, instead aiming for a broad multilateral and multi-stakeholder approach that includes both the public and the private domains.
With this in mind, the summit will bring together high-level representatives of government bodies, civil society organisations, knowledge institutions and the private sector in order to discuss the key opportunities, challenges and risks associated with military applications of AI.
Photo: Ministry of Foreign Affairs / Henriette Guest
Impressions from the Global Shapers Annual Summit 2023 in Geneva, Switzerland 16 June 2023. World Economic Forum Headquarters, Welcome Reception: Celebrating 25 Years of Changemaking , World Economic Forum, Tent & Terrace. Copyright: World Economic Forum/Marc Bader
Juliana Chan, Chief Executive Officer, Wildtype Media Group, Singapore; Young Global Leader, captured during the Session: A New Wave of Ocean Solutions with Nanyang Technological University at the World Economic Forum - Annual Meeting of the New Champions in Dalian, People's Republic of China, July 1, 2019. Copyright by World Economic Forum / Ciaran McCrickard
Technological developments in the area of AI take place primarily in the civil domain. Any discussion of this topic should seek to avoid compartmentalisation, instead aiming for a broad multilateral and multi-stakeholder approach that includes both the public and the private domains.
With this in mind, the summit will bring together high-level representatives of government bodies, civil society organisations, knowledge institutions and the private sector in order to discuss the key opportunities, challenges and risks associated with military applications of AI.
Photo: Ministry of Foreign Affairs / Martijn Beekman
Lamp beads are made by winding pieces of variously coloured glass material onto a wire. Czech lamp beads are unique in the family of glass beads due to the method of their production and the technological possibilities. They are the only ones to be exclusively manufactured by means of the hand working of glass which means that every one is an original little work of art. Even when working in a series with a uniform design, the beads are never exact copies of each other. Hand production enables the almost unlimited combination of coloured glass into a single bead, variations of shape and extreme sizes. They are created by melting glass rods manufactured at PRECIOSA ORNELA.
The High School of Applied Arts for Glassmaking in Železný Brod organizes courses for public. Selected employees of Business and Marketing Department of Preciosa Ornela, a.s. participated in one course focused on wound pearls of lamp glass.
Images of some of the original Robotic, Science and Interactive Art Exhibits that MRISAR’s R&D Team has designed and fabricated.
In 2010 MRISAR, (a business that has Designed, Fabricated & Marketed the Earth’s Largest Selection of “Internationally Renowned & Awarded, World-Class Robotics Exhibits & Devices”; and “Hands On” Scientific, Technological & Interactive Art Exhibits), purchased a disused school on the plains of North Dakota and relocated to it. Profit from their International Exhibit Sales helps fund their Humanitarian R&D and the transformation of the 36,000 sq. ft. complex, surrounded by 10 acres in North Dakota, into a World-Class “Interactive, Robotics, Technology, Invention, Art & Nature Center”.
Description of MRISAR’s “Interactive; Robotics, Technology, Invention, Art & Nature Center”.
1- Our 7,000 sq. ft. Exhibit Hall will feature; our standard line of interactive robotic & technology exhibits that we sell to Centers world-wide and our exclusive collection of robotic exhibits & devices that we will not sell to anyone else. Our talking Rail Robot Guide will lead visitors through the exhibit hall. Interact with our innovative, lifelike, futuristic, Robotic creations. Examples; Play with & feed Artificial Life forms in a Robot Zoo! Challenge robots with your human intelligence! Interact with otherworldly artistic, interactive, robotic sculptures! It will also feature Responsible Technologies.
2- Our Art Galleries will display the hundreds of pieces of family friendly, original 2D, 3D and Interactive Art that our team has already created, plus have revolving Family Oriented Local Artists Exhibitions.
3- The surrounding 10 acres is slowly being transformed into an Outdoor Interactive Art & Nature Area that will be filled with paths, trees, gardens and kinetic & interactive, solar & wind, technological art sculptures. The emphasis is edible, medicinal & organic landscapes that promote sustainability & health. As of 2015 over 3,000 edible and medicinal trees and shrubs have been planted.
4- We will provide “Special Tours” of behind the scenes areas. Examples are; (a) our Humanitarian & Environmental Research & Development Think Tank Invention labs that feature our R & D Projects. (b) the actual workshops where the attractions are created (similar to visiting the workshops & creations of Jim Henson’s creature shop). (c) a behind the scenes view of the production studio for the web series we are creating called the “Mysterious Lab of Robotics” (our robotic version of “Bill Nye the Science Guy” or “Beakman’s World”). (d) a chance to meet MRISAR’s internationally renowned robotics R & D team. A four member family team who since 2000 has designed, fabricated & marketed the earth’s largest selection of world-class robotic exhibits. The 2 youngest members joined the team as preschoolers.
5- “Public Enrichment Events”. Examples are; (a) special overnight events called “A Night with the Robots” (available no-where else in the world). Families can make reservations to spend the night on the center floor in sleeping bags or cots and experience special robotic demonstrations in a futuristic atmosphere. In recent years “A Night at the Museum” events have become very popular and highly accepted. (b) special classes on robotics for the general public. (c) Robotics Competitions. We are already providing technical assistance to teachers and academic establishments (both in the state and outside of the country), that are trying to enter robotic competitions, but lack the knowledge to fully instruct and inspire their students. A natural progression for this, once we are open for tourism, would be to offer to hold regional, national and international competitions at our location. (d) International conferences regarding Robotics and Beneficial R & D Conferences. (e) Collaborations, enrichment classes and internships in enhanced technologies with higher academic establishments; combining elements such as Cybernetics, Bionics, Mechatronics, Autonomics, Animatronics & Teleoperation.
6- Admission will be free to the underprivileged. We hope to inspire the upcoming generation to create careers in responsible technologies that improve the quality of life.
7- The proceeds from the Center will help fund our R & D and further our creation of a “Prototype Environment, low cost, low impact, self-sustaining, alternative energy powered, Humanitarian & Environmental Research & Development institute with Think Tank Invention labs”. Our purpose is to invent and present responsible, low cost and easy to implement, beneficial humanitarian and environmental based technologies and methods that assist with social, ecological, sustainable and economic solutions. Accomplishing the prototype environment alone requires research & development of new technologies & improvement of existing technologies.
We have Designed, Fabricated & Marketed the Earth’s Largest Selection of "Internationally Renowned & Awarded" World-Class Robotics Exhibits & Devices; and “Hands On” Scientific, Technological & Interactive Art Exhibits. Our innovative, interactive, inexpensive, durable & easy to maintain creations incorporate interactive technologies & designs for people with disabilities and other special needs. We also provide our own Educational Kits & Materials for K thru 12/College & University level curriculums.
Our Exhibit Sales Customers include World-Class Science Centers, Museums, Universities, NASA, Royalty, Foreign & Domestic Governments, the Film Industries for inclusion in media productions, etc. We specialize in Cybernetics, Bionics, Mechatronics, Autonomics, Animatronics & Teleoperated devices.
Our Humanitarian & Environmental Research & Development has been presented before and/or published and awarded by: the United Nations, NASA-Emhart, Stanford, Cambridge, ICORR, ROMAN, IEEE, Discover Awards, International Federation of Robotics (IFR), etc. Our 1990's circa, original innovative R & D in "Facial Feature Controlled Technology" and "Artificial Sense of Touch Technology" (Adaptive Technology prototypes for the disabled), has helped pioneer those fields! We were the only company in the world to be awarded an entire chapter regarding our work in the International Federation of Robotics (IFR) “World Robotics; Service Robotics, 2011”.
Technological developments in the area of AI take place primarily in the civil domain. Any discussion of this topic should seek to avoid compartmentalisation, instead aiming for a broad multilateral and multi-stakeholder approach that includes both the public and the private domains.
With this in mind, the summit will bring together high-level representatives of government bodies, civil society organisations, knowledge institutions and the private sector in order to discuss the key opportunities, challenges and risks associated with military applications of AI.
Photo: Ministry of Foreign Affairs / Henriette Guest
Technological developments in the area of AI take place primarily in the civil domain. Any discussion of this topic should seek to avoid compartmentalisation, instead aiming for a broad multilateral and multi-stakeholder approach that includes both the public and the private domains.
With this in mind, the summit will bring together high-level representatives of government bodies, civil society organisations, knowledge institutions and the private sector in order to discuss the key opportunities, challenges and risks associated with military applications of AI.
Photo: Ministry of Foreign Affairs / Henriette Guest
The kit and its assembly:
This is a whif, but the Nanchang Q-6 was actually developed until 1989 – even though it never entered any service. It was over-ambitious and a dead end, overtaken by technological advances and the fact that Chinese development used to take decades rather than years.
Anyway, the Q-6 actually looked as if someone had glued the nose and air intake of a F-16 onto a MiG-23/27 fuselage - weird, but cool, so why not try this at home?
Like many kitbashing things, what sounds simple turned out to be a bit tricky in detail, even though the surgery was finally easier than expected. The model basis is pretty simple: I took an Academy MiG-27, sawed off the fuselage in the wing roots area (about 1cm, the cockpit section is an extra fuselage section), and did the same with an Italeri F-16 nose section, right behind the cockpit, where the front wheel well ends. The top insert for the single seater was left a bit longer, so that it would overlap with the MiG-23/27 spine.
When you fit these parts together, height is almost perfect, even the wing root/LERX angles match, but there are gaps left on the flanks where the original MiG-27 air intakes would be. These have to be covered, what creates lines reminiscent of the respective area on a MRCA Tornado. Furthermore, the spine behind the cockpit has to be sculpted, too.
Furthermore, the wing root levels of the MiG-23/27 and the F-16 did not match - they have a difference in height of about 4mm on the model, and this was the biggest challenge.
In order to compensate for this problem on my model, any LERX sign was removed from the F-16 nose. Inside of the F-16 section, a column was added that supports the rear upper half of the front fuselage, since the flanks had to go almost completely.
On the outside, the necessary intersections/extensions sculpted new with 2C putty, extending the MiG-23/27 lines forward. The final surface finish was done with NC putty. This major surgery was less complicated than expected - lots of work, though, but feasible.
The new front section with its blended fuselage/LERX area around the cockpit reminds surprisingly much of the MiG-29? As a side note: when you look at CG simulations of this aircraft, this area is a frequent field of trial and error. You find unconclusive, if not impossible designs.
Other changes include a less modern canopy from a MiG-21 (I think it comes from an Academy MiG-21F kit), which was more tricky to fit onto the original F-16 canopy than the LERX stuff. The F-16 canopy looked just too modern for my taste. An old Airfix pilot figure was added, too.
Another new feature is a new jet pipe, a J-79 nozzle from an Italeri Kfir that fits perfectly into the rear fuselage, and the fin. The latter was taken as a leftover part from my recent CF-151A project and comes from a 1:144 scale Tu-22M bomber (Dragon). It's higher, but less deep, and I thought that a slightly different shape and more area would be suitable for an attack aircraft. For the same reason the single, foldable stabilizer fin under the rear fuselage was replaced by two fixed strakes (from the F-16). Small details, but they change the look and make the aircraft appear more simple.
The landing gear was taken from the MiG-27, the front wheel strut had to be slightly shortened due to the reduced wheelbase on the Q-6.
The ordnance was puzzled together – according to current BAF weapons in use. I went for unguided missiles (taken from the Academy MiG-27 donation kit) and some 100kg iron bombs, leftover from a Trumpeter Il-28 bomber kit. These were arranged under the wing roots on improvised tandem MERs.
I did not even try to engrave new panel lines on the new front section - actually, almost the whole upper surface is featureless since it was made with putty. But bot 2C and NC putty are pretty touchy to drilling or engraving (as the rather fruitless attempt to drill open cavities for the two guns proved...), so I decided to just use paint effects.
Lokman Hossain works as a cleaner, in Nanyang Technological University, in Singapore. "There are Bangladeshi girls from well to do families who study here. We hear them talk to each other in Bangla, but when we try to talk to them, they pretend they don't know the language". Part of Migrant soul project, an attempt to understand the dreams and the realities of Bangladeshi migrant people. www.migrantsoul.net
The technological progress and captivating luxury of the golden age of travels across the Atlantic Ocean are the inspiration for this timepiece from the Montblanc 4810 collection. Exuding the distinctive elegance of Montblanc, it combines useful functionality with sophisticated refinement
An original Interactive Art Sculpture designed and created by MRISAR’s R&D Team.
"Touch Spectrum" Directions: Place one hand on each metal plate and the Touch Spectrum will react by creating sounds and light patterns. Or place one hand on a metal plate and have another person place one of their hands on the other plate and then touch each of your remaining hands together. Try touching it with only a finger tip, then place your whole hand on the plate. Notice how the sound deepens as your hand covers more surface. This occurs because your body is the conductor for the electrical current and the more surface you cover the larger the conductive pathway is. This increase in conductivity creates deeper tones. This exhibit was designed for public safety!!
The sculpture conducts a small electrical signal, which turns on an oscillator, which creates sounds. As more users touch the plates the sounds develop deep tonal qualities that are reminiscent of musical notes. It also illustrates touch switch technology, energy conversion, photovoltaic and photonic science, electrical conductance and oscillator theory.
In 2010 MRISAR, (a business that has Designed, Fabricated & Marketed the Earth’s Largest Selection of “Internationally Renowned & Awarded, World-Class Robotics Exhibits & Devices”; and “Hands On” Scientific, Technological & Interactive Art Exhibits), purchased a disused school on the plains of North Dakota and relocated to it. Profit from their International Exhibit Sales helps fund their Humanitarian R&D and the transformation of the 36,000 sq. ft. complex, surrounded by 10 acres in North Dakota, into a World-Class “Interactive, Robotics, Technology, Invention, Art & Nature Center”.
Description of MRISAR’s “Interactive; Robotics, Technology, Invention, Art & Nature Center”.
1- Our 7,000 sq. ft. Exhibit Hall will feature; our standard line of interactive robotic & technology exhibits that we sell to Centers world-wide and our exclusive collection of robotic exhibits & devices that we will not sell to anyone else. Our talking Rail Robot Guide will lead visitors through the exhibit hall. Interact with our innovative, lifelike, futuristic, Robotic creations. Examples; Play with & feed Artificial Life forms in a Robot Zoo! Challenge robots with your human intelligence! Interact with otherworldly artistic, interactive, robotic sculptures! It will also feature Responsible Technologies.
2- Our Art Galleries will display the hundreds of pieces of family friendly, original 2D, 3D and Interactive Art that our team has already created, plus have revolving Family Oriented Local Artists Exhibitions.
3- The surrounding 10 acres is slowly being transformed into an Outdoor Interactive Art & Nature Area that will be filled with paths, trees, gardens and kinetic & interactive, solar & wind, technological art sculptures. The emphasis is edible, medicinal & organic landscapes that promote sustainability & health. As of 2015 over 3,000 edible and medicinal trees and shrubs have been planted.
4- We will provide “Special Tours” of behind the scenes areas. Examples are; (a) our Humanitarian & Environmental Research & Development Think Tank Invention labs that feature our R & D Projects. (b) the actual workshops where the attractions are created (similar to visiting the workshops & creations of Jim Henson’s creature shop). (c) a behind the scenes view of the production studio for the web series we are creating called the “Mysterious Lab of Robotics” (our robotic version of “Bill Nye the Science Guy” or “Beakman’s World”). (d) a chance to meet MRISAR’s internationally renowned robotics R & D team. A four member family team who since 2000 has designed, fabricated & marketed the earth’s largest selection of world-class robotic exhibits. The 2 youngest members joined the team as preschoolers.
5- “Public Enrichment Events”. Examples are; (a) special overnight events called “A Night with the Robots” (available no-where else in the world). Families can make reservations to spend the night on the center floor in sleeping bags or cots and experience special robotic demonstrations in a futuristic atmosphere. In recent years “A Night at the Museum” events have become very popular and highly accepted. (b) special classes on robotics for the general public. (c) Robotics Competitions. We are already providing technical assistance to teachers and academic establishments (both in the state and outside of the country), that are trying to enter robotic competitions, but lack the knowledge to fully instruct and inspire their students. A natural progression for this, once we are open for tourism, would be to offer to hold regional, national and international competitions at our location. (d) International conferences regarding Robotics and Beneficial R & D Conferences. (e) Collaborations, enrichment classes and internships in enhanced technologies with higher academic establishments; combining elements such as Cybernetics, Bionics, Mechatronics, Autonomics, Animatronics & Teleoperation.
6- Admission will be free to the underprivileged. We hope to inspire the upcoming generation to create careers in responsible technologies that improve the quality of life.
7- The proceeds from the Center will help fund our R & D and further our creation of a “Prototype Environment, low cost, low impact, self-sustaining, alternative energy powered, Humanitarian & Environmental Research & Development institute with Think Tank Invention labs”. Our purpose is to invent and present responsible, low cost and easy to implement, beneficial humanitarian and environmental based technologies and methods that assist with social, ecological, sustainable and economic solutions. Accomplishing the prototype environment alone requires research & development of new technologies & improvement of existing technologies.
We have Designed, Fabricated & Marketed the Earth’s Largest Selection of "Internationally Renowned & Awarded" World-Class Robotics Exhibits & Devices; and “Hands On” Scientific, Technological & Interactive Art Exhibits. Our innovative, interactive, inexpensive, durable & easy to maintain creations incorporate interactive technologies & designs for people with disabilities and other special needs. We also provide our own Educational Kits & Materials for K thru 12/College & University level curriculums.
Our Exhibit Sales Customers include World-Class Science Centers, Museums, Universities, NASA, Royalty, Foreign & Domestic Governments, the Film Industries for inclusion in media productions, etc. We specialize in Cybernetics, Bionics, Mechatronics, Autonomics, Animatronics & Teleoperated devices.
Our Humanitarian & Environmental Research & Development has been presented before and/or published and awarded by: the United Nations, NASA-Emhart, Stanford, Cambridge, ICORR, ROMAN, IEEE, Discover Awards, International Federation of Robotics (IFR), etc. Our 1990's circa, original innovative R & D in "Facial Feature Controlled Technology" and "Artificial Sense of Touch Technology" (Adaptive Technology prototypes for the disabled), has helped pioneer those fields! We were the only company in the world to be awarded an entire chapter regarding our work in the International Federation of Robotics (IFR) “World Robotics; Service Robotics, 2011”.
Despite the fact that the Voigtlander is an f/1.2 lens I discovered that most of my images were at f/22.
Grangegorman College has recently become Technological University Dublin [TU]
I live so close to this college campus that I could claim that I live on it and i expect that it will, over the next few years, have a massive impact on the local area. I am hoping that it will be a positive impact.
Grangegorman Campus Development: TU Dublin, in conjunction with the Grangegorman Development Agency, Health Service Executive and Dublin City Council is developing a new unified campus which will be located at Grangegorman in Dublin’s North West Inner city. The campus will bring together the University's core and supporting activities in a single vibrant environment, integrating with the strategic development of Dublin City and providing a range of facilities for Students and Staff, for industry and the wider community. Together with the existing Campus in Blanchardstown and Tallaght this will be the heart of the new Technological University Dublin.
The 40 mm/1:1.2 Nokton is a fast, manual lens. It is the world`s first full-frame 40 mm lens with an aperture of f/1.2, while retaining a compact size. The optical formula includes two aspherical lenses, and the photographer can rely on optical performance and enjoy a smooth bokeh at the maximum aperture.
The kit and its assembly:
This is a whif, but the Nanchang Q-6 was actually developed until 1989 – even though it never entered any service. It was over-ambitious and a dead end, overtaken by technological advances and the fact that Chinese development used to take decades rather than years.
Anyway, the Q-6 actually looked as if someone had glued the nose and air intake of a F-16 onto a MiG-23/27 fuselage - weird, but cool, so why not try this at home?
Like many kitbashing things, what sounds simple turned out to be a bit tricky in detail, even though the surgery was finally easier than expected. The model basis is pretty simple: I took an Academy MiG-27, sawed off the fuselage in the wing roots area (about 1cm, the cockpit section is an extra fuselage section), and did the same with an Italeri F-16 nose section, right behind the cockpit, where the front wheel well ends. The top insert for the single seater was left a bit longer, so that it would overlap with the MiG-23/27 spine.
When you fit these parts together, height is almost perfect, even the wing root/LERX angles match, but there are gaps left on the flanks where the original MiG-27 air intakes would be. These have to be covered, what creates lines reminiscent of the respective area on a MRCA Tornado. Furthermore, the spine behind the cockpit has to be sculpted, too.
Furthermore, the wing root levels of the MiG-23/27 and the F-16 did not match - they have a difference in height of about 4mm on the model, and this was the biggest challenge.
In order to compensate for this problem on my model, any LERX sign was removed from the F-16 nose. Inside of the F-16 section, a column was added that supports the rear upper half of the front fuselage, since the flanks had to go almost completely.
On the outside, the necessary intersections/extensions sculpted new with 2C putty, extending the MiG-23/27 lines forward. The final surface finish was done with NC putty. This major surgery was less complicated than expected - lots of work, though, but feasible.
The new front section with its blended fuselage/LERX area around the cockpit reminds surprisingly much of the MiG-29? As a side note: when you look at CG simulations of this aircraft, this area is a frequent field of trial and error. You find unconclusive, if not impossible designs.
Other changes include a less modern canopy from a MiG-21 (I think it comes from an Academy MiG-21F kit), which was more tricky to fit onto the original F-16 canopy than the LERX stuff. The F-16 canopy looked just too modern for my taste. An old Airfix pilot figure was added, too.
Another new feature is a new jet pipe, a J-79 nozzle from an Italeri Kfir that fits perfectly into the rear fuselage, and the fin. The latter was taken as a leftover part from my recent CF-151A project and comes from a 1:144 scale Tu-22M bomber (Dragon). It's higher, but less deep, and I thought that a slightly different shape and more area would be suitable for an attack aircraft. For the same reason the single, foldable stabilizer fin under the rear fuselage was replaced by two fixed strakes (from the F-16). Small details, but they change the look and make the aircraft appear more simple.
The landing gear was taken from the MiG-27, the front wheel strut had to be slightly shortened due to the reduced wheelbase on the Q-6.
The ordnance was puzzled together – according to current BAF weapons in use. I went for unguided missiles (taken from the Academy MiG-27 donation kit) and some 100kg iron bombs, leftover from a Trumpeter Il-28 bomber kit. These were arranged under the wing roots on improvised tandem MERs.
I did not even try to engrave new panel lines on the new front section - actually, almost the whole upper surface is featureless since it was made with putty. But bot 2C and NC putty are pretty touchy to drilling or engraving (as the rather fruitless attempt to drill open cavities for the two guns proved...), so I decided to just use paint effects.
Technological, Connected, Patriotic
Cisco is a company that has a reputation for being a stable resource for internet, the colors show it as trustworthy
Lawrence Technological University runs the endurance event for no points at the 2018 Formula Hybrid competition.
Photo by Karen Endicott.
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
This is the Pont du Gard, a famous Roman Aqueduct on the Gardon River in France.
This monumental structure spanning the Gardon River valley is 275 metres long, 49 metres high, 6 metres wide at the base, 3 metres wide at the top and has a total of fifty three arches. It is only one part of a fifty kilometre aqueduct which supplied Roman Nimes with fresh water. It is estimated to have carried twenty thousand cubic metres per day.
It was built using six-ton stone blocks, coloured a delicate shade of pink, laid dry, and is a technological and aesthetic masterpiece.
Through poor maintenance, the aqueduct gradually became unusable in the 9th Century.
But the many times restored Pont du Gard, still remains its haughty air even after nearly two thousand years.
From a tourist book on La Provence (English version)
Begun around 19 BC, this bridge is part of an aqueduct which transported water from a spring near Uzes to Roman Nimes. An underground channel, bridges and tunnels were engineered to carry the 20 million litre (4.4 million gallon) daily water supply 50 km (31 miles).
The three-tiered structure of the Pont du Gard spans the Gardon valley and was the tallest aqueduct in the Roman empire.
Its huge limestone blocks, some as heavy as 6 tonnes, were erected without mortar. The water channel covered by stone slabs, was in the top tier of the three. Skillfully designed cutwaters ensured that the bridge has resisted many violent floods.
It is not known for certain how long the aqueduct continued in use but it may still have been functioning as late as the 9th century AD.
The adjacent road bridge was erected in the 1700s.
Taken from DK Eyewitness Travel: Provence & The Cote D'Azur
On the way back.
The Texas Technological College Dairy Barn stands on the Texas Tech University campus in Lubbock. It was built in 1926-27 using the designs of Wyatt C. Hedrick, and served as a teaching facility for 40 years.
Until 1935, students would bring their own cows to campus and market their own milk products through the Student Dairy Association. After 1927, the Dairy Manufacturers department sold milk and ice cream to Lubbock residents and college cafeterias. The university moved its dairy facility elsewhere in 1967 and abandoned the dairy barn.
From 1990 through 1992, students raised funds to preserve the barn as a symbol of Texas Tech's agricultural roots. The building was placed on the National Register of Historic Places in 1992.
Information from: en.wikipedia.org/wiki/Texas_Technological_College_Dairy_Barn
Located in the South Plains region of West Texas, where the Panhandle begins, Lubbock is the seat of Lubbock County and home to Texas Tech University. It was the 11th largest city in the state in 2020 with roughly 260,000 people.
Despite the fact that the Voigtlander is an f/1.2 lens I discovered that most of my images were at f/22.
Grangegorman College has recently become Technological University Dublin [TU]
I live so close to this college campus that I could claim that I live on it and i expect that it will, over the next few years, have a massive impact on the local area. I am hoping that it will be a positive impact.
Grangegorman Campus Development: TU Dublin, in conjunction with the Grangegorman Development Agency, Health Service Executive and Dublin City Council is developing a new unified campus which will be located at Grangegorman in Dublin’s North West Inner city. The campus will bring together the University's core and supporting activities in a single vibrant environment, integrating with the strategic development of Dublin City and providing a range of facilities for Students and Staff, for industry and the wider community. Together with the existing Campus in Blanchardstown and Tallaght this will be the heart of the new Technological University Dublin.
The 40 mm/1:1.2 Nokton is a fast, manual lens. It is the world`s first full-frame 40 mm lens with an aperture of f/1.2, while retaining a compact size. The optical formula includes two aspherical lenses, and the photographer can rely on optical performance and enjoy a smooth bokeh at the maximum aperture.
UNIMAS Institute Open Day 2018 -Institute of Social Informatics and Technological Innovation (ISITI) Celebrating UNIMAS 25 years of Excellence!
#UNIMAS25
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#UNIMAS
Universiti Malaysia Sarawak
more info : www.unimas.my
facebook: www.facebook.com/UNIMASofficial
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Ayumi activates a switch on the control panel, and with an ominous electrical hum, a transparent hood lowers itself over Poppy's helpless head... she makes a final futile effort to struggle against her bonds, but it's no use...
Pyrite from Peru. (SMM DM14826, Seaman Mineral Museum, Michigan Technological University, Houghton, Michigan, USA)
A mineral is a naturally-occurring, solid, inorganic, crystalline substance having a fairly definite chemical composition and having fairly definite physical properties. At its simplest, a mineral is a naturally-occurring solid chemical. Currently, there are over 5500 named and described minerals - about 200 of them are common and about 20 of them are very common. Mineral classification is based on anion chemistry. Major categories of minerals are: elements, sulfides, oxides, halides, carbonates, sulfates, phosphates, and silicates.
The sulfide minerals contain one or more sulfide anions (S-2). The sulfides are usually considered together with the arsenide minerals, the sulfarsenide minerals, and the telluride minerals. Many sulfides are economically significant, as they occur commonly in ores. The metals that combine with S-2 are mainly Fe, Cu, Ni, Ag, etc. Most sulfides have a metallic luster, are moderately soft, and are noticeably heavy for their size. These minerals will not form in the presence of free oxygen. Under an oxygen-rich atmosphere, sulfide minerals tend to chemically weather to various oxide and hydroxide minerals.
Pyrite is a common iron sulfide mineral (FeS2). It’s nickname is “fool's gold”. Pyrite has a metallic luster, brassy gold color (in contrast to the deep rich yellow gold color of true gold - www.flickr.com/photos/jsjgeology/sets/72157651325153769/), dark gray to black streak, is hard (H=6 to 6.5), has no cleavage, and is moderately heavy for its size. It often forms cubic crystals or pyritohedrons (crystals having pentagonal faces).
Pyrite is common in many hydrothermal veins, shales, coals, various metamorphic rocks, and massive sulfide deposits.
The beautiful crystalline pyrite mass shown above comes from the Huanzala Deposit in the Andes Mountains of Peru. There, several limestone horizons of the Lower Cretaceous Santa Formation have polymetallic mineralization. Origin interpretations vary - some consider this to be a contact metamorphic (metasomatic) deposit - a skarn, formed by the interaction between host limestones and Miocene dikes. Others consider this to be a high-temperature, Cretaceous-aged, volcanic sedimentary ore deposit subjected to Miocene remobilization of minerals.
Locality: Huanzala Mine, Huallanca District, Dos de Mayo Province, Huanuco Department, Peru
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Some geologic info. synthesized from:
Crowley et al. (1997) - The Raura-Huanzala Group (mining districts in Peru). Mineralogical Record 28(4).
Imai et al. (1985) - Mineralization and paragenesis of the Huanzala Mine, central Peru. Economic Geology 80: 461-478.
Soler et al. (1986) - Mineralization and paragenesis of the Huanzala Mine, central Peru - a discussion. Economic Geology 81: 195-196.
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Photo gallery of pyrite:
Once i didn't have a single phone to text or call her , now i have numbers of cells but she isn't there . In life at times when we need something badly , that thing keeps a distance from us ..
MEMOIRS :)
25.4.2011 THE DAY IT ALL STARTED ... DON'T REMEMBER THE DATE WHEN IT ENDED , ACTUALLY I DIDN'T WANT TO
Το 1864 τα μεταλλεία του Λαυρίου λειτούργησαν ξανά μετά από αρκετούς αιώνες. Φτωχοί εργάτες από όλη την Ελλάδα κατέφθασαν στην περιοχή για να δουλέψουν, ανάμεσα τους και πολλές γυναίκες και παιδιά. Δούλευαν από τα ξημερώματα έως τη δύση του ηλίου χωρίς σταματημό, με μοναδική παρέα τα ποντίκια, τα μοναδικά ζώα που επιβίωναν στην περιοχή και μέσα στις στοές. Τις περισσότερες φορές οι εργάτες πέθαιναν νωρίς από μολυβδίαση ή πνευμονοκονίαση, ασθένειες που εμφανίζονται σε ανθρώπους που εκτίθενται για χρόνια στη σκόνη και τις θανατηφόρες χημικές ουσίες των ορυχείων....
Οι εγκαταστάσης ανήκαν στην Γαλλική Εταιρεία Μεταλλείων Λαυρίου με ιδρυτή και ιδιοκτητη τον Ι. Β. Σερπιέρη.
In 1864 the mines of Lavrion working again after several centuries. Poor workers from all over Greece arrived on the scene to work, among them many women and children. They worked from dawn to dusk without stopping, with unique group mice, unique animals surviving in the region and through the galleries. Most often workers die early from lead poisoning or pneumoconiosis, diseases that occur in people exposed for years to dust and deadly chemicals mine ....
The plants belong to the French Mining Company of Lavrion founder and owner of G. B. Serpieri.
Technological developments in the area of AI take place primarily in the civil domain. Any discussion of this topic should seek to avoid compartmentalisation, instead aiming for a broad multilateral and multi-stakeholder approach that includes both the public and the private domains.
With this in mind, the summit will bring together high-level representatives of government bodies, civil society organisations, knowledge institutions and the private sector in order to discuss the key opportunities, challenges and risks associated with military applications of AI.
Photo: Ministry of Foreign Affairs / Henriette Guest
Speaking in the Multilateral: Strategic Intelligence session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 17 June 2023. World Economic Forum Headquarters, Kibo-Nelion. Copyright: World Economic Forum/ Thibaut Bouvier
Technological developments in the area of AI take place primarily in the civil domain. Any discussion of this topic should seek to avoid compartmentalisation, instead aiming for a broad multilateral and multi-stakeholder approach that includes both the public and the private domains.
With this in mind, the summit will bring together high-level representatives of government bodies, civil society organisations, knowledge institutions and the private sector in order to discuss the key opportunities, challenges and risks associated with military applications of AI.
Photo: Ministry of Foreign Affairs / Henriette Guest
On Monday, March 16, 2015, the Smithsonian Institution hosted the Nanyang Technological University in Singapore for a Symposium and MOU signing in the Castle Commons
Lawrence Technological University, in the hybrid drive type category, gets fueled up at the 2017 Formula Hybrid competition.
Photo by Kathryn LoConte Lapierre.
Jennifer Fuller, Civil and Environmental Engineering, Favorite Poster Award presented by Howard Haselhuhn of GSG;
Title of Poster: Activated Carbon Sorption as an Optimization Process for Removal of Synthetic Hormones in Wastewater Treatment –
Graduate Research Colloquium 2014 at Michigan Technological University
blogs.mtu.edu/engineering/2014/02/24/graduated-research-c...
Images of some of the original Robotic, Science and Interactive Art Exhibits that MRISAR’s R&D Team has designed and fabricated.
In 2010 MRISAR, (a business that has Designed, Fabricated & Marketed the Earth’s Largest Selection of “Internationally Renowned & Awarded, World-Class Robotics Exhibits & Devices”; and “Hands On” Scientific, Technological & Interactive Art Exhibits), purchased a disused school on the plains of North Dakota and relocated to it. Profit from their International Exhibit Sales helps fund their Humanitarian R&D and the transformation of the 36,000 sq. ft. complex, surrounded by 10 acres in North Dakota, into a World-Class “Interactive, Robotics, Technology, Invention, Art & Nature Center”.
Description of MRISAR’s “Interactive; Robotics, Technology, Invention, Art & Nature Center”.
1- Our 7,000 sq. ft. Exhibit Hall will feature; our standard line of interactive robotic & technology exhibits that we sell to Centers world-wide and our exclusive collection of robotic exhibits & devices that we will not sell to anyone else. Our talking Rail Robot Guide will lead visitors through the exhibit hall. Interact with our innovative, lifelike, futuristic, Robotic creations. Examples; Play with & feed Artificial Life forms in a Robot Zoo! Challenge robots with your human intelligence! Interact with otherworldly artistic, interactive, robotic sculptures! It will also feature Responsible Technologies.
2- Our Art Galleries will display the hundreds of pieces of family friendly, original 2D, 3D and Interactive Art that our team has already created, plus have revolving Family Oriented Local Artists Exhibitions.
3- The surrounding 10 acres is slowly being transformed into an Outdoor Interactive Art & Nature Area that will be filled with paths, trees, gardens and kinetic & interactive, solar & wind, technological art sculptures. The emphasis is edible, medicinal & organic landscapes that promote sustainability & health. As of 2015 over 3,000 edible and medicinal trees and shrubs have been planted.
4- We will provide “Special Tours” of behind the scenes areas. Examples are; (a) our Humanitarian & Environmental Research & Development Think Tank Invention labs that feature our R & D Projects. (b) the actual workshops where the attractions are created (similar to visiting the workshops & creations of Jim Henson’s creature shop). (c) a behind the scenes view of the production studio for the web series we are creating called the “Mysterious Lab of Robotics” (our robotic version of “Bill Nye the Science Guy” or “Beakman’s World”). (d) a chance to meet MRISAR’s internationally renowned robotics R & D team. A four member family team who since 2000 has designed, fabricated & marketed the earth’s largest selection of world-class robotic exhibits. The 2 youngest members joined the team as preschoolers.
5- “Public Enrichment Events”. Examples are; (a) special overnight events called “A Night with the Robots” (available no-where else in the world). Families can make reservations to spend the night on the center floor in sleeping bags or cots and experience special robotic demonstrations in a futuristic atmosphere. In recent years “A Night at the Museum” events have become very popular and highly accepted. (b) special classes on robotics for the general public. (c) Robotics Competitions. We are already providing technical assistance to teachers and academic establishments (both in the state and outside of the country), that are trying to enter robotic competitions, but lack the knowledge to fully instruct and inspire their students. A natural progression for this, once we are open for tourism, would be to offer to hold regional, national and international competitions at our location. (d) International conferences regarding Robotics and Beneficial R & D Conferences. (e) Collaborations, enrichment classes and internships in enhanced technologies with higher academic establishments; combining elements such as Cybernetics, Bionics, Mechatronics, Autonomics, Animatronics & Teleoperation.
6- Admission will be free to the underprivileged. We hope to inspire the upcoming generation to create careers in responsible technologies that improve the quality of life.
7- The proceeds from the Center will help fund our R & D and further our creation of a “Prototype Environment, low cost, low impact, self-sustaining, alternative energy powered, Humanitarian & Environmental Research & Development institute with Think Tank Invention labs”. Our purpose is to invent and present responsible, low cost and easy to implement, beneficial humanitarian and environmental based technologies and methods that assist with social, ecological, sustainable and economic solutions. Accomplishing the prototype environment alone requires research & development of new technologies & improvement of existing technologies.
We have Designed, Fabricated & Marketed the Earth’s Largest Selection of "Internationally Renowned & Awarded" World-Class Robotics Exhibits & Devices; and “Hands On” Scientific, Technological & Interactive Art Exhibits. Our innovative, interactive, inexpensive, durable & easy to maintain creations incorporate interactive technologies & designs for people with disabilities and other special needs. We also provide our own Educational Kits & Materials for K thru 12/College & University level curriculums.
Our Exhibit Sales Customers include World-Class Science Centers, Museums, Universities, NASA, Royalty, Foreign & Domestic Governments, the Film Industries for inclusion in media productions, etc. We specialize in Cybernetics, Bionics, Mechatronics, Autonomics, Animatronics & Teleoperated devices.
Our Humanitarian & Environmental Research & Development has been presented before and/or published and awarded by: the United Nations, NASA-Emhart, Stanford, Cambridge, ICORR, ROMAN, IEEE, Discover Awards, International Federation of Robotics (IFR), etc. Our 1990's circa, original innovative R & D in "Facial Feature Controlled Technology" and "Artificial Sense of Touch Technology" (Adaptive Technology prototypes for the disabled), has helped pioneer those fields! We were the only company in the world to be awarded an entire chapter regarding our work in the International Federation of Robotics (IFR) “World Robotics; Service Robotics, 2011”.
According to the U.S. Bureau of Labor Statistics, information technology-related jobs are expected to be among the fastest and largest growing jobs in the economy through 2016. In fact, computer software engineers, computer systems analysts, network systems and data communication analysts should...
myproblog.com/riding-the-technological-wave-breaking-into...
Pictured here is 1 of 3 styles of MRISAR's Cybermatrix (Robotic Tic Tac Toe), in the 7,000 sq. ft. former gym of the MRISAR building, in New Leipzig, ND.
Cybermatrix is an educational exhibit with a fun twist that will appeal to children and adults alike. Cybermatrix is based on the old game of Tic-Tac-Toe.
Click www.youtube.com/watch?t=1&v=e1kSY2AcujQ to view video.
The control panel on the exhibit affords the museum visitor the chance to interact with Cybermatrix. Once the start button is pushed the panel inside the display case lights up the center “X” then the visitors makes an “O” move. Then Cybermatrix compares the move that has already been made by the user to the board options for possible moves, then signals the arm in turn to seek an available square. When the square is in sight of the arm, it's finger light selects Cybermatrix's move by striking the board sensor with the finger light. The game continues until time runs out.
From a mathematical perspective the game of Tick-Tac-Toe is not beatable and should never have a better result than a tie. Naturally the logic of such an absolute is not appealing to the human element, so Cybermatrix has a few random patterns it creates to trick the exhibit into loosing occasionally.
A version of MRISAR's "Cybermatrix- Tic Tac Toe" is part of Popnology.
The MRISAR Team of New Leipzig, ND collaborated with Stage Nine by creating the robotics, interactive components and landscape for 6 Interactive Exhibits (Mars Probe Rover, Super Pentiductor, Cybermatrix-robotic tic tac toe, Challenge the Robot, a 5 finger Robot Arm Exhibit and a 3 Finger Robot Arm Exhibit) that are part of Popnology, which opened at the Los Angeles Fair in 2015. From there Popnology went to the Arizona Science Center in 2016. See links below for more information.
Popnology; from Science Fiction to Science Fact, is a new interactive exhibition that seeks to awe, enlighten and educate its visitors with outstanding displays of technological advances inspired by pop culture. It’s about how technological advances and pop culture have influenced each other. Other exhibitions are: the original DeLorean from “Back to the Future”; The Batmobile from “Batman Forever”; The iconic “Time Machine”; the “Terminator”; replicas of three different Mars rovers from JPL; and the HAL 9000 computer from “2001: A Space Odyssey.”
MRISAR is the most versatile Robotics R & D Team in the world. Team members are John and Victoria Siegel and their daughters Autumn and Aurora Siegel who joined the team as preschoolers. All four members are inventors and artists. Everything that MRISAR creates is designed and fabricated in their shops and labs by their team of family members.
In 2010 MRISAR, (a business that has Designed, Fabricated & Marketed the Earth’s Largest Selection of “Internationally Renowned & Awarded, World-Class Robotics Exhibits & Devices”; and “Hands On” Scientific, Technological & Interactive Art Exhibits), purchased a disused school on the plains of North Dakota and relocated to it. Profit from their International Exhibit Sales helps fund their Humanitarian R&D and the transformation of the 36,000 sq. ft. complex, surrounded by 10 acres in North Dakota, into a World-Class “Interactive, Robotics, Technology, Invention, Art & Nature Center”.
MRISAR website is www.mrisar.com.
Links:
Featured Exhibition - Arizona Science Center. azscience.org/popnology POPnology offers a riveting, memorable exploration of popular culture’s impact on technology – past, present and future – and its direct effect on how we live and work, how we move, how we connect and how we play.
Tickets for the Gala opening were from $500 to $50,000 depending on the seating. azscience.org/Donate/galaxy-gala
www.youtube.com/watch?v=BjYNBZZF_oQ This is a shop test of our Interactive Technological Sculpture “Super Pentiductor” prior to the Popnology installation.
Click this link to see images of Popnology including our robotics. The 3rd image down the page is our 5 Finger Robot Arm. www.raisingarizonakids.com/2016/02/popnology-exhibit-ariz...
Click this link to see images of Popnology including the Mars Probe Rover Robotics and landscape we created. downtowndevil.com/2016/02/11/77425/arizona-science-center...
Click this link to see images of Popnology including our robotics. cronkitenews.azpbs.org/2016/02/05/arizona-science-center-...
Click this link to see images of Popnology including our robotics. www.azcentral.com/picture-gallery/entertainment/kids/2016...
Click this link to see images of Popnology including our robotics. www.abc15.com/entertainment/events/popnology-exhibit-brin...
www.lacountyfair.com/learn/popnology . There are images of our robotics on this page as well as a video at the bottom showing some of our work.
www.dailybulletin.com/lifestyle/20150904/popnology-exhibi...
www.youtube.com/watch?v=YQwc3rKbmPM This video catches a glimpse of our 3 finger robot arm moving dino eggs, our super pentiductor being used, our 5 finger robot arm and the telepresence control council for our 3 finger robot arm to make it move dino eggs.
Technological advances have made small, unmanned aircraft systems (sUAS or drones) less expensive and more powerful. As a result, the devices are becoming useful tools for wildlife damage assessments and management. USDA-APHIS Wildlife Services is evaluating the effectiveness of different sUAS designs to disperse birds from crop fields and airport environments.
USDA photo by Dwight LeBlanc