View allAll Photos Tagged videoprojection,
Mogami-dô samurai armor.
Ôboshi-hochi-bachi type helmet (kabuto)
Myôchin's school mask.
from "musée des confluences" collections, Lyon.
"Le Japon Illustré" at Girodet Museum.
Temporary exhibition of Japanese prints and objects (most of the city of Rouen collections), mixed in the Museum collections.
Borderline 2011 Last day : L'Histoire de l'œil.
A. J. Splosh Girl “Accords Perdus” “Lost Chords” performance.
“Accords Perdus” ["Lost Chords"] is an interdisciplinary work that combines opera, cabaret, shibari, feminist text and video installations… This performance builds radical sociological speech about the female body and its representations.
As the men were taken to fight, women stepped in to fill the gaps in manufacturing capacity and to run vital infrastructure. This had a huge influence for change on society.
Press Release
Glasgow City Council commissioned The Projection Studio – led by Ross Ashton and Karen Monid - to create a ground-breaking giant mapped video projection show, “Glasgow’s War”, on the front of their City Chambers building to commemorate the centenary of the First World War.
The impressive, meticulously researched and compelling 27 minute work, complete with specially compiled sound-track by Karen Monid, featured stunning visuals and an emotive narrative that was specific to Glasgow, detailing the historical contributions made by the city and its communities, and the resulting social impact of World War 1.
Glasgow was the second most powerful city of the British Empire at the time, a melting pot for thriving heavy industries like ship-building, steel and engineering. It also suffered the highest per capita loss of soldiers of any city in Britain. Of the 200,000 odd who went to the battlefront … nearly 18,000 didn’t return, and around 35,000 were left badly injured, disabled or suffering from debilitating trauma related illnesses.
“It was an incredible honour to be trusted with relating such a fundamentally significant piece of history and of telling the story of Glasgow’s War with honesty and integrity” states Ashton, whose completely unique art has won multiple international Awards and holds two Guinness World Records.
Creating Content
“Glasgow’s War” detailed some of the military and social ‘firsts’ achieved by Glasgow and its citizens during the war, including the fact that its people raised £14 million sterling – a staggering amount at the time – in just 7 days during 1916 / 17 for the ’Tank Bank’ to aid the war effort. This exceeded the totals of the next three cities combined.
Principal segments were dedicated to the major battles in which Glaswegian soldiers died, including the Somme, Passchendaele (Ypres) and Arras, and parallel to this, the story also drew attention to Glasgow’s very strong anti-war / peace movements including the work of high profile campaigners James Maxton and John McLean.
It also highlighted the massive impact of the war on women. It changed their role in society forever as they stepped into industrial jobs like munitions, filled positions vacated by men going to the front lines and established major legacies in the city like founding the Erskine Hospital to care for war veterans and using local technical and engineering skills to develop prosthetic limbs.
Meticulous Research
Ashton and Monid were given access to a wealth of original material, all of which helped give the work additional resonance.
The research element of the project consumed them for two intense months. They scoured multiple archives including The Imperial War Museum; The Mitchell Museum in Glasgow which contributed much of the social materials; The Strathclyde University Archive; the Glasgow University Archive which unearthed a host of commercial and business documentation; and the archives of two prominent Scottish regiments of the day, The Royal Highland Fusiliers and the South Lanarkshire Leisure & Culture Archive.
Period film and newsreel from Pathe News was utilized in making the visual content and local Glasgow newspapers were trawled for photographs, articles, speeches, etc. plus a host of other readings, books and references were consulted as the pair got thoroughly ‘into the zone’.
Much of the material wasn’t digitised, especially the military archives. Monid found herself painstakingly transcribing from original materials like letters home from soldiers on the front, personal diaries and memos … many of which have never previously been seen.
“These were incredibly personal and moving” she comments, “They really brought out the very human elements involved in a conflict over which few had any control”.
Monid recorded around 12 different Glaswegian ‘voices’ aged between 16 and 60 years old, some dependents of World War I soldiers, who read various texts and narrative passages which she then wove into the soundscape.
Music for the piece was minimal but carefully chosen. Some popular tunes of the time were included and new material originated by re-mixing hits by music hall singers – the superstars of the day - including Harry Lauder, and reproducing songs that soldiers might sing for themselves to help alleviate the horror of daily life in the trenches.
Monid collaborated with Glasgow School of Art’s Digital Design Studio who undertook a project to recreate ‘authentic’ World War I battlefield sounds that were utilized for the relevant parts of the show.
She also recorded Pipe Major Ross Miller and drummer David Mark from the National Youth Pipe Band of Scotland who played a selection of military tunes that appeared in the research, which she could then layer into the audio track.
Projection System
Ashton specified the projection system and mapped the 75 metre wide by 40 metre tall building, which was covered with images using 24 x Christie 20K machines supplied by locally based rental company QED, all located on special towers. QED also supplied a d&b line array system for the audio.
The video control system was a d3 media server programmed by Dan Gray.
Ashton has projected onto the City Chambers before on 2009 for the highly successful “Burns Illuminated” that marked the 250th birthday of the Scottish Bard.
Joining Ashton’s creative team on the visual side of the project were Art Director Theirry Noyer and motion graphics specialist Sang Gun Kim.
They all worked alongside Derek Dunsire, Glasgow City Council’s Principal of City Centre Regeneration and Ownership Information
Roll of Honour
Right at the core of this projection spectacular was the extremely poignant ‘Roll of Honour’. This saw the names of all 17, 697 Glasgow soldiers who died in the War projected onto the cenotaph in front of the City Chambers.
This process – approximately one every second - took five hours, which set the overall timescale for the installation, during which the projection show screened seven times – each one to packed audiences.
The task of extracting the name, rank and regiment information from the database for the Roll of Honour and formatting them for video alone took Ashton five solid days!
As the final screening ended and the last name scrolled up onto the cenotaph at midnight on November 11th 2014, bugler Colour Sergeant James Thomson and piper Pipe Major Stewart Gillis from the Royal Highland Fusiliers 2nd Battalion Royal Regiment of Scotland played The Last Post … which was followed by two minutes silence.
Proud
Says Monid, “We are all extremely proud of being involved in this work. It’s been very consuming and an incredibly emotional experience. I wanted to give viewers a sense of scale, of the enormity of the contribution and sacrifice by so many ordinary – and yet extraordinary - men and women, but all the time referencing this to the dynamics of the city. With the social history thread, I could illustrate some of the alternative and positive transformations that were also developing alongside the destruction of life in the War.
“Some exceptional teamwork contributed to the end result which is a heartfelt but non-sentimental tribute to all who died, their often overlooked legacies and a gritty, genuine historical snapshot of Glasgow in the context of the First World War.”
See the video via Vimeo: www.vimeo.com/14031747
--
This simple video projection window display installation was a collaborative art project between Chairman Ting and Tangible Interaction in Vancouver, Canada.
The installation piece was created for only one night during the popular fireworks event to help maximize impact and generate awareness for Single Bicycles, a quality bicycle brand situated in downtown Vancouver on Robson Street.
From concept to production, this art installation took over a month to prepare, execute and test. The custom music track was composed and produced by Tom Pettapiece.
CREDITS + INFO:
Animation and production: Tangible Interaction
Illustration and artwork: Chairman Ting
Concept: Chairman Ting x Tangible Interaction
Music: Tom Pettapiece
Video edit: Chairman Ting
Client: Single Bicycles
Location: Vancouver, Canada
LINKS:
www.flickr.com/photos/tompettapiece/
FOLLOW:
Alice Cooper ⚡️ Taking over Dortmund + Essen/Ruhrgebiet, Germany! Detroit Stories out now!
by Pixeleye Industries
Agency: Community Promotion c/o Straßenjunge
Label: earMUSIC
#alicecooper #detroitstories #detroitstoriesalbum #pixeleye #dortmund #wallprojection #promotion #alicecooperband
Atlanta Ballet's staging of The Nutcracker uses elaborately crafted scenery combined with advanced techniques in lighting and video projection to enhance the story's magic. This two-act ballet takes place in a charming German city on Christmas Eve and pulls in elements from E.T.A. Hoffmann's 1816 story, "The Nutcracker and the Mouse King," set to the iconic Tchaikovsky score. [From Kennedy Center's "Playbill."]
The Fremont Street Experience in Las Vegas.
Every hour there is a 5-minute video shown on the giant video screen that overlooks the "street."
For more on Fremont Street, see our good friend Wikipedia.
#DSC06019
Borderline 2011 Last day : L'Histoire de l'œil.
A. J. Splosh Girl “Accords Perdus” “Lost Chords” performance.
“Accords Perdus” ["Lost Chords"] is an interdisciplinary work that combines opera, cabaret, shibari, feminist text and video installations… This performance builds radical sociological speech about the female body and its representations.
Borderline 2011 Last day : L'Histoire de l'œil.
A. J. Splosh Girl “Accords Perdus” “Lost Chords” performance.
“Accords Perdus” ["Lost Chords"] is an interdisciplinary work that combines opera, cabaret, shibari, feminist text and video installations… This performance builds radical sociological speech about the female body and its representations.
By Spectaculars at the National Museum of Singapore facade, Stamford Road during the Singapore Night Festival 2019.
TapGig during public event, Zamanand in Munich. Ukrainian artist playing from Lviv projected on the war memorial Siegestor.
photos by Nils Nebe
see a video here: www.youtube.com/watch?v=zaG_D97raBE
Video projection by Spectacularies at the National Museum of Singapore, Bayan Tree during Singapore Night Festival 2019.
Artist: Chriss Brown
Location: Superdome at Essence Music festival 2008; TimeInc.
Production Design: Stefan Beese - beesign productions.
This simple video projection window display installation was a collaborative art project between Chairman Ting and Tangible Interaction in Vancouver, Canada.
The installation piece was created for only one night during the popular fireworks event to help maximize impact and generate awareness for Single Bicycles, a quality bicycle brand situated in downtown Vancouver on Robson Street.
From concept to production, this art installation took over a month to prepare, execute and test. The custom music track was composed and produced by Tom Pettapiece.
CREDITS + INFO:
Animation and production: Tangible Interaction
Illustration and artwork: Chairman Ting
Concept: Chairman Ting x Tangible Interaction
Music: Tom Pettapiece
Video edit: Chairman Ting
Client: Single Bicycles
Location: Vancouver, Canada
LINKS:
www.flickr.com/photos/tompettapiece/
FOLLOW:
Glasgow City Council commissioned The Projection Studio – led by Ross Ashton and Karen Monid - to create a ground-breaking giant mapped video projection show, “Glasgow’s War”, on the front of their City Chambers building to commemorate the centenary of the First World War.
The impressive, meticulously researched and compelling 27 minute work, complete with specially compiled sound-track by Karen Monid, featured stunning visuals and an emotive narrative that was specific to Glasgow, detailing the historical contributions made by the city and its communities, and the resulting social impact of World War 1.
Glasgow was the second most powerful city of the British Empire at the time, a melting pot for thriving heavy industries like ship-building, steel and engineering. It also suffered the highest per capita loss of soldiers of any city in Britain. Of the 200,000 odd who went to the battlefront … nearly 18,000 didn’t return, and around 35,000 were left badly injured, disabled or suffering from debilitating trauma related illnesses.
“It was an incredible honour to be trusted with relating such a fundamentally significant piece of history and of telling the story of Glasgow’s War with honesty and integrity” states Ashton, whose completely unique art has won multiple international Awards and holds two Guinness World Records.
Creating Content
“Glasgow’s War” detailed some of the military and social ‘firsts’ achieved by Glasgow and its citizens during the war, including the fact that its people raised £14 million sterling – a staggering amount at the time – in just 7 days during 1916 / 17 for the ’Tank Bank’ to aid the war effort. This exceeded the totals of the next three cities combined.
Principal segments were dedicated to the major battles in which Glaswegian soldiers died, including the Somme, Passchendaele (Ypres) and Arras, and parallel to this, the story also drew attention to Glasgow’s very strong anti-war / peace movements including the work of high profile campaigners James Maxton and John McLean.
It also highlighted the massive impact of the war on women. It changed their role in society forever as they stepped into industrial jobs like munitions, filled positions vacated by men going to the front lines and established major legacies in the city like founding the Erskine Hospital to care for war veterans and using local technical and engineering skills to develop prosthetic limbs.
Meticulous Research
Ashton and Monid were given access to a wealth of original material, all of which helped give the work additional resonance.
The research element of the project consumed them for two intense months. They scoured multiple archives including The Imperial War Museum; The Mitchell Museum in Glasgow which contributed much of the social materials; The Strathclyde University Archive; the Glasgow University Archive which unearthed a host of commercial and business documentation; and the archives of two prominent Scottish regiments of the day, The Royal Highland Fusiliers and the South Lanarkshire Leisure & Culture Archive.
Period film and newsreel from Pathe News was utilized in making the visual content and local Glasgow newspapers were trawled for photographs, articles, speeches, etc. plus a host of other readings, books and references were consulted as the pair got thoroughly ‘into the zone’.
Much of the material wasn’t digitised, especially the military archives. Monid found herself painstakingly transcribing from original materials like letters home from soldiers on the front, personal diaries and memos … many of which have never previously been seen.
“These were incredibly personal and moving” she comments, “They really brought out the very human elements involved in a conflict over which few had any control”.
Monid recorded around 12 different Glaswegian ‘voices’ aged between 16 and 60 years old, some dependents of World War I soldiers, who read various texts and narrative passages which she then wove into the soundscape.
Music for the piece was minimal but carefully chosen. Some popular tunes of the time were included and new material originated by re-mixing hits by music hall singers – the superstars of the day - including Harry Lauder, and reproducing songs that soldiers might sing for themselves to help alleviate the horror of daily life in the trenches.
Monid collaborated with Glasgow School of Art’s Digital Design Studio who undertook a project to recreate ‘authentic’ World War I battlefield sounds that were utilized for the relevant parts of the show.
She also recorded Pipe Major Ross Miller and drummer David Mark from the National Youth Pipe Band of Scotland who played a selection of military tunes that appeared in the research, which she could then layer into the audio track.
Projection System
Ashton specified the projection system and mapped the 75 metre wide by 40 metre tall building, which was covered with images using 24 x Christie 20K machines supplied by locally based rental company QED, all located on special towers. QED also supplied a d&b line array system for the audio.
The video control system was a d3 media server programmed by Dan Gray.
Ashton has projected onto the City Chambers before on 2009 for the highly successful “Burns Illuminated” that marked the 250th birthday of the Scottish Bard.
Joining Ashton’s creative team on the visual side of the project were Art Director Theirry Noyer and motion graphics specialist Sang Gun Kim.
They all worked alongside Derek Dunsire, Glasgow City Council’s Principal of City Centre Regeneration and Ownership Information
Roll of Honour
Right at the core of this projection spectacular was the extremely poignant ‘Roll of Honour’. This saw the names of all 17, 697 Glasgow soldiers who died in the War projected onto the cenotaph in front of the City Chambers.
This process – approximately one every second - took five hours, which set the overall timescale for the installation, during which the projection show screened seven times – each one to packed audiences.
The task of extracting the name, rank and regiment information from the database for the Roll of Honour and formatting them for video alone took Ashton five solid days!
As the final screening ended and the last name scrolled up onto the cenotaph at midnight on November 11th 2014, bugler Colour Sergeant James Thomson and piper Pipe Major Stewart Gillis from the Royal Highland Fusiliers 2nd Battalion Royal Regiment of Scotland played The Last Post … which was followed by two minutes silence.
Proud
Says Monid, “We are all extremely proud of being involved in this work. It’s been very consuming and an incredibly emotional experience. I wanted to give viewers a sense of scale, of the enormity of the contribution and sacrifice by so many ordinary – and yet extraordinary - men and women, but all the time referencing this to the dynamics of the city. With the social history thread, I could illustrate some of the alternative and positive transformations that were also developing alongside the destruction of life in the War.
“Some exceptional teamwork contributed to the end result which is a heartfelt but non-sentimental tribute to all who died, their often overlooked legacies and a gritty, genuine historical snapshot of Glasgow in the context of the First World War.”
Victoria Miro first opened her gallery in Cork Street, Mayfair in 1985. The gallery quickly earned acclaim for showing the work of established and emerging artists from the USA, Europe and Asia, and for nurturing the careers of young artists from the UK. In 2000 Victoria Miro Gallery relocated to a sensitively converted, 8,000-square-foot former furniture factory situated between Hoxton and Islington in northeast London. With exhibition spaces on two floors, the gallery is almost unique in London for having its own garden, a beautiful landscaped area overlooking a restored stretch of the Regent's Canal at Wenlock Basin which has been used to great effect for installations by gallery artists such as Yayoi Kusama.
+++
The Armory Show 2010
The Armory Show is the United States’ leading art fair devoted to the most important artworks of the 20th and 21st centuries. In its twelve years, the fair has become an international institution. Every March, artists, galleries, collectors, critics and curators from all over the world make New York their destination during Armory Arts Week.
The Armory Show 2010 also features The Armory Show – Modern, specializing in modern and secondary market material on Pier 92. Pier 94 continues to be a venue to premiere new works by living artists. With one ticket, visitors to The Armory Show on March 4–7, 2010 have access to the latest developments in the art world, and to the masterpieces which heralded them.
Piers 92 and 94 on 55th Street and 12th Avenue, NYC
March 4-7, 2010
*A-MINT* is a metaphor of a sustainable future, where man and machines work together in perfect symbiosis to cross a frontier that man alone could not dare. *A-MINT* is a new kind of adaptive Artificial Music Intelligence, the first one of its kind capable to crack the improvisation code of any musician in real time and able to improvise with him. Creating music and video along the execution, without any preset pattern, pitch or bpm. A new organic and lively form of contemporary electronic music. The futuristic real-time electronic orchestrations, enhanced by the generative videoprojections, rewrite the rules of live electronic music, and plunge the audience into a unique experience, always different because of the impulses and interpretations of the Artificial Music Intelligence A-Mint, a trip in unknown and never explored before territories and boundaries, made of new sounds,technology, images, energy , sweat, heart and soul.
Credit: Alex Braga
As women's wages went up, landlords tried to cash in. A series of court cases led by Mary Barbour fixed rents at pre-war levels.
Press Release
Glasgow City Council commissioned The Projection Studio – led by Ross Ashton and Karen Monid - to create a ground-breaking giant mapped video projection show, “Glasgow’s War”, on the front of their City Chambers building to commemorate the centenary of the First World War.
The impressive, meticulously researched and compelling 27 minute work, complete with specially compiled sound-track by Karen Monid, featured stunning visuals and an emotive narrative that was specific to Glasgow, detailing the historical contributions made by the city and its communities, and the resulting social impact of World War 1.
Glasgow was the second most powerful city of the British Empire at the time, a melting pot for thriving heavy industries like ship-building, steel and engineering. It also suffered the highest per capita loss of soldiers of any city in Britain. Of the 200,000 odd who went to the battlefront … nearly 18,000 didn’t return, and around 35,000 were left badly injured, disabled or suffering from debilitating trauma related illnesses.
“It was an incredible honour to be trusted with relating such a fundamentally significant piece of history and of telling the story of Glasgow’s War with honesty and integrity” states Ashton, whose completely unique art has won multiple international Awards and holds two Guinness World Records.
Creating Content
“Glasgow’s War” detailed some of the military and social ‘firsts’ achieved by Glasgow and its citizens during the war, including the fact that its people raised £14 million sterling – a staggering amount at the time – in just 7 days during 1916 / 17 for the ’Tank Bank’ to aid the war effort. This exceeded the totals of the next three cities combined.
Principal segments were dedicated to the major battles in which Glaswegian soldiers died, including the Somme, Passchendaele (Ypres) and Arras, and parallel to this, the story also drew attention to Glasgow’s very strong anti-war / peace movements including the work of high profile campaigners James Maxton and John McLean.
It also highlighted the massive impact of the war on women. It changed their role in society forever as they stepped into industrial jobs like munitions, filled positions vacated by men going to the front lines and established major legacies in the city like founding the Erskine Hospital to care for war veterans and using local technical and engineering skills to develop prosthetic limbs.
Meticulous Research
Ashton and Monid were given access to a wealth of original material, all of which helped give the work additional resonance.
The research element of the project consumed them for two intense months. They scoured multiple archives including The Imperial War Museum; The Mitchell Museum in Glasgow which contributed much of the social materials; The Strathclyde University Archive; the Glasgow University Archive which unearthed a host of commercial and business documentation; and the archives of two prominent Scottish regiments of the day, The Royal Highland Fusiliers and the South Lanarkshire Leisure & Culture Archive.
Period film and newsreel from Pathe News was utilized in making the visual content and local Glasgow newspapers were trawled for photographs, articles, speeches, etc. plus a host of other readings, books and references were consulted as the pair got thoroughly ‘into the zone’.
Much of the material wasn’t digitised, especially the military archives. Monid found herself painstakingly transcribing from original materials like letters home from soldiers on the front, personal diaries and memos … many of which have never previously been seen.
“These were incredibly personal and moving” she comments, “They really brought out the very human elements involved in a conflict over which few had any control”.
Monid recorded around 12 different Glaswegian ‘voices’ aged between 16 and 60 years old, some dependents of World War I soldiers, who read various texts and narrative passages which she then wove into the soundscape.
Music for the piece was minimal but carefully chosen. Some popular tunes of the time were included and new material originated by re-mixing hits by music hall singers – the superstars of the day - including Harry Lauder, and reproducing songs that soldiers might sing for themselves to help alleviate the horror of daily life in the trenches.
Monid collaborated with Glasgow School of Art’s Digital Design Studio who undertook a project to recreate ‘authentic’ World War I battlefield sounds that were utilized for the relevant parts of the show.
She also recorded Pipe Major Ross Miller and drummer David Mark from the National Youth Pipe Band of Scotland who played a selection of military tunes that appeared in the research, which she could then layer into the audio track.
Projection System
Ashton specified the projection system and mapped the 75 metre wide by 40 metre tall building, which was covered with images using 24 x Christie 20K machines supplied by locally based rental company QED, all located on special towers. QED also supplied a d&b line array system for the audio.
The video control system was a d3 media server programmed by Dan Gray.
Ashton has projected onto the City Chambers before on 2009 for the highly successful “Burns Illuminated” that marked the 250th birthday of the Scottish Bard.
Joining Ashton’s creative team on the visual side of the project were Art Director Theirry Noyer and motion graphics specialist Sang Gun Kim.
They all worked alongside Derek Dunsire, Glasgow City Council’s Principal of City Centre Regeneration and Ownership Information
Roll of Honour
Right at the core of this projection spectacular was the extremely poignant ‘Roll of Honour’. This saw the names of all 17, 697 Glasgow soldiers who died in the War projected onto the cenotaph in front of the City Chambers.
This process – approximately one every second - took five hours, which set the overall timescale for the installation, during which the projection show screened seven times – each one to packed audiences.
The task of extracting the name, rank and regiment information from the database for the Roll of Honour and formatting them for video alone took Ashton five solid days!
As the final screening ended and the last name scrolled up onto the cenotaph at midnight on November 11th 2014, bugler Colour Sergeant James Thomson and piper Pipe Major Stewart Gillis from the Royal Highland Fusiliers 2nd Battalion Royal Regiment of Scotland played The Last Post … which was followed by two minutes silence.
Proud
Says Monid, “We are all extremely proud of being involved in this work. It’s been very consuming and an incredibly emotional experience. I wanted to give viewers a sense of scale, of the enormity of the contribution and sacrifice by so many ordinary – and yet extraordinary - men and women, but all the time referencing this to the dynamics of the city. With the social history thread, I could illustrate some of the alternative and positive transformations that were also developing alongside the destruction of life in the War.
“Some exceptional teamwork contributed to the end result which is a heartfelt but non-sentimental tribute to all who died, their often overlooked legacies and a gritty, genuine historical snapshot of Glasgow in the context of the First World War.”
declare independence [ björk cover ] // audio responsive particle animations coded in Processing, projected live at our most recent show at Chicago's Martyrs, Saturday, June 27 2015.
[ i'm the member of >>radiant devices<< responsible for aesthetics & live visuals ]
Video projection of 7 Stories from 700 years at the facade of Victoria Theatre and Concert Hall during Light to Night Festival 2019 and activities at the Empress Lawn during iLight Singapore Bicentennial Edition.
Alice Cooper ⚡️ Taking over Dortmund + Essen/Ruhrgebiet, Germany! Detroit Stories out now!
by Pixeleye Industries
Agency: Community Promotion c/o Straßenjunge
Label: earMUSIC
#alicecooper #detroitstories #detroitstoriesalbum #pixeleye #dortmund #wallprojection #promotion #alicecooperband
We were very pleased to have the participation of the Colour Sergeant James Thomson and Pipe Major Stewart Gillis of the Royal Highland Fusiliers, Second Battalion Royal Regiment of Scotland. As their regiment is a descendent of the Highland Light Infantry, they volunteered to play the 'Last Post', 'Flowers of the Forest' & 'Reveille' at the end of the evening. The HLI took enormous losses throughout the war and Glasgow raised three HLI Battalions of volunteers.
Press Release
Glasgow City Council commissioned The Projection Studio – led by Ross Ashton and Karen Monid - to create a ground-breaking giant mapped video projection show, “Glasgow’s War”, on the front of their City Chambers building to commemorate the centenary of the First World War.
The impressive, meticulously researched and compelling 27 minute work, complete with specially compiled sound-track by Karen Monid, featured stunning visuals and an emotive narrative that was specific to Glasgow, detailing the historical contributions made by the city and its communities, and the resulting social impact of World War 1.
Glasgow was the second most powerful city of the British Empire at the time, a melting pot for thriving heavy industries like ship-building, steel and engineering. It also suffered the highest per capita loss of soldiers of any city in Britain. Of the 200,000 odd who went to the battlefront … nearly 18,000 didn’t return, and around 35,000 were left badly injured, disabled or suffering from debilitating trauma related illnesses.
“It was an incredible honour to be trusted with relating such a fundamentally significant piece of history and of telling the story of Glasgow’s War with honesty and integrity” states Ashton, whose completely unique art has won multiple international Awards and holds two Guinness World Records.
Creating Content
“Glasgow’s War” detailed some of the military and social ‘firsts’ achieved by Glasgow and its citizens during the war, including the fact that its people raised £14 million sterling – a staggering amount at the time – in just 7 days during 1916 / 17 for the ’Tank Bank’ to aid the war effort. This exceeded the totals of the next three cities combined.
Principal segments were dedicated to the major battles in which Glaswegian soldiers died, including the Somme, Passchendaele (Ypres) and Arras, and parallel to this, the story also drew attention to Glasgow’s very strong anti-war / peace movements including the work of high profile campaigners James Maxton and John McLean.
It also highlighted the massive impact of the war on women. It changed their role in society forever as they stepped into industrial jobs like munitions, filled positions vacated by men going to the front lines and established major legacies in the city like founding the Erskine Hospital to care for war veterans and using local technical and engineering skills to develop prosthetic limbs.
Meticulous Research
Ashton and Monid were given access to a wealth of original material, all of which helped give the work additional resonance.
The research element of the project consumed them for two intense months. They scoured multiple archives including The Imperial War Museum; The Mitchell Museum in Glasgow which contributed much of the social materials; The Strathclyde University Archive; the Glasgow University Archive which unearthed a host of commercial and business documentation; and the archives of two prominent Scottish regiments of the day, The Royal Highland Fusiliers and the South Lanarkshire Leisure & Culture Archive.
Period film and newsreel from Pathe News was utilized in making the visual content and local Glasgow newspapers were trawled for photographs, articles, speeches, etc. plus a host of other readings, books and references were consulted as the pair got thoroughly ‘into the zone’.
Much of the material wasn’t digitised, especially the military archives. Monid found herself painstakingly transcribing from original materials like letters home from soldiers on the front, personal diaries and memos … many of which have never previously been seen.
“These were incredibly personal and moving” she comments, “They really brought out the very human elements involved in a conflict over which few had any control”.
Monid recorded around 12 different Glaswegian ‘voices’ aged between 16 and 60 years old, some dependents of World War I soldiers, who read various texts and narrative passages which she then wove into the soundscape.
Music for the piece was minimal but carefully chosen. Some popular tunes of the time were included and new material originated by re-mixing hits by music hall singers – the superstars of the day - including Harry Lauder, and reproducing songs that soldiers might sing for themselves to help alleviate the horror of daily life in the trenches.
Monid collaborated with Glasgow School of Art’s Digital Design Studio who undertook a project to recreate ‘authentic’ World War I battlefield sounds that were utilized for the relevant parts of the show.
She also recorded Pipe Major Ross Miller and drummer David Mark from the National Youth Pipe Band of Scotland who played a selection of military tunes that appeared in the research, which she could then layer into the audio track.
Projection System
Ashton specified the projection system and mapped the 75 metre wide by 40 metre tall building, which was covered with images using 24 x Christie 20K machines supplied by locally based rental company QED, all located on special towers. QED also supplied a d&b line array system for the audio.
The video control system was a d3 media server programmed by Dan Gray.
Ashton has projected onto the City Chambers before on 2009 for the highly successful “Burns Illuminated” that marked the 250th birthday of the Scottish Bard.
Joining Ashton’s creative team on the visual side of the project were Art Director Theirry Noyer and motion graphics specialist Sang Gun Kim.
They all worked alongside Derek Dunsire, Glasgow City Council’s Principal of City Centre Regeneration and Ownership Information
Roll of Honour
Right at the core of this projection spectacular was the extremely poignant ‘Roll of Honour’. This saw the names of all 17, 697 Glasgow soldiers who died in the War projected onto the cenotaph in front of the City Chambers.
This process – approximately one every second - took five hours, which set the overall timescale for the installation, during which the projection show screened seven times – each one to packed audiences.
The task of extracting the name, rank and regiment information from the database for the Roll of Honour and formatting them for video alone took Ashton five solid days!
As the final screening ended and the last name scrolled up onto the cenotaph at midnight on November 11th 2014, bugler Colour Sergeant James Thomson and piper Pipe Major Stewart Gillis from the Royal Highland Fusiliers 2nd Battalion Royal Regiment of Scotland played The Last Post … which was followed by two minutes silence.
Proud
Says Monid, “We are all extremely proud of being involved in this work. It’s been very consuming and an incredibly emotional experience. I wanted to give viewers a sense of scale, of the enormity of the contribution and sacrifice by so many ordinary – and yet extraordinary - men and women, but all the time referencing this to the dynamics of the city. With the social history thread, I could illustrate some of the alternative and positive transformations that were also developing alongside the destruction of life in the War.
“Some exceptional teamwork contributed to the end result which is a heartfelt but non-sentimental tribute to all who died, their often overlooked legacies and a gritty, genuine historical snapshot of Glasgow in the context of the First World War.”
The headline in the Glasgow Herald on the day the war ended. To call it victory would be overstating it, but there was universal gladness that at least the war had ended.
Press Release
Glasgow City Council commissioned The Projection Studio – led by Ross Ashton and Karen Monid - to create a ground-breaking giant mapped video projection show, “Glasgow’s War”, on the front of their City Chambers building to commemorate the centenary of the First World War.
The impressive, meticulously researched and compelling 27 minute work, complete with specially compiled sound-track by Karen Monid, featured stunning visuals and an emotive narrative that was specific to Glasgow, detailing the historical contributions made by the city and its communities, and the resulting social impact of World War 1.
Glasgow was the second most powerful city of the British Empire at the time, a melting pot for thriving heavy industries like ship-building, steel and engineering. It also suffered the highest per capita loss of soldiers of any city in Britain. Of the 200,000 odd who went to the battlefront … nearly 18,000 didn’t return, and around 35,000 were left badly injured, disabled or suffering from debilitating trauma related illnesses.
“It was an incredible honour to be trusted with relating such a fundamentally significant piece of history and of telling the story of Glasgow’s War with honesty and integrity” states Ashton, whose completely unique art has won multiple international Awards and holds two Guinness World Records.
Creating Content
“Glasgow’s War” detailed some of the military and social ‘firsts’ achieved by Glasgow and its citizens during the war, including the fact that its people raised £14 million sterling – a staggering amount at the time – in just 7 days during 1916 / 17 for the ’Tank Bank’ to aid the war effort. This exceeded the totals of the next three cities combined.
Principal segments were dedicated to the major battles in which Glaswegian soldiers died, including the Somme, Passchendaele (Ypres) and Arras, and parallel to this, the story also drew attention to Glasgow’s very strong anti-war / peace movements including the work of high profile campaigners James Maxton and John McLean.
It also highlighted the massive impact of the war on women. It changed their role in society forever as they stepped into industrial jobs like munitions, filled positions vacated by men going to the front lines and established major legacies in the city like founding the Erskine Hospital to care for war veterans and using local technical and engineering skills to develop prosthetic limbs.
Meticulous Research
Ashton and Monid were given access to a wealth of original material, all of which helped give the work additional resonance.
The research element of the project consumed them for two intense months. They scoured multiple archives including The Imperial War Museum; The Mitchell Museum in Glasgow which contributed much of the social materials; The Strathclyde University Archive; the Glasgow University Archive which unearthed a host of commercial and business documentation; and the archives of two prominent Scottish regiments of the day, The Royal Highland Fusiliers and the South Lanarkshire Leisure & Culture Archive.
Period film and newsreel from Pathe News was utilized in making the visual content and local Glasgow newspapers were trawled for photographs, articles, speeches, etc. plus a host of other readings, books and references were consulted as the pair got thoroughly ‘into the zone’.
Much of the material wasn’t digitised, especially the military archives. Monid found herself painstakingly transcribing from original materials like letters home from soldiers on the front, personal diaries and memos … many of which have never previously been seen.
“These were incredibly personal and moving” she comments, “They really brought out the very human elements involved in a conflict over which few had any control”.
Monid recorded around 12 different Glaswegian ‘voices’ aged between 16 and 60 years old, some dependents of World War I soldiers, who read various texts and narrative passages which she then wove into the soundscape.
Music for the piece was minimal but carefully chosen. Some popular tunes of the time were included and new material originated by re-mixing hits by music hall singers – the superstars of the day - including Harry Lauder, and reproducing songs that soldiers might sing for themselves to help alleviate the horror of daily life in the trenches.
Monid collaborated with Glasgow School of Art’s Digital Design Studio who undertook a project to recreate ‘authentic’ World War I battlefield sounds that were utilized for the relevant parts of the show.
She also recorded Pipe Major Ross Miller and drummer David Mark from the National Youth Pipe Band of Scotland who played a selection of military tunes that appeared in the research, which she could then layer into the audio track.
Projection System
Ashton specified the projection system and mapped the 75 metre wide by 40 metre tall building, which was covered with images using 24 x Christie 20K machines supplied by locally based rental company QED, all located on special towers. QED also supplied a d&b line array system for the audio.
The video control system was a d3 media server programmed by Dan Gray.
Ashton has projected onto the City Chambers before on 2009 for the highly successful “Burns Illuminated” that marked the 250th birthday of the Scottish Bard.
Joining Ashton’s creative team on the visual side of the project were Art Director Theirry Noyer and motion graphics specialist Sang Gun Kim.
They all worked alongside Derek Dunsire, Glasgow City Council’s Principal of City Centre Regeneration and Ownership Information
Roll of Honour
Right at the core of this projection spectacular was the extremely poignant ‘Roll of Honour’. This saw the names of all 17, 697 Glasgow soldiers who died in the War projected onto the cenotaph in front of the City Chambers.
This process – approximately one every second - took five hours, which set the overall timescale for the installation, during which the projection show screened seven times – each one to packed audiences.
The task of extracting the name, rank and regiment information from the database for the Roll of Honour and formatting them for video alone took Ashton five solid days!
As the final screening ended and the last name scrolled up onto the cenotaph at midnight on November 11th 2014, bugler Colour Sergeant James Thomson and piper Pipe Major Stewart Gillis from the Royal Highland Fusiliers 2nd Battalion Royal Regiment of Scotland played The Last Post … which was followed by two minutes silence.
Proud
Says Monid, “We are all extremely proud of being involved in this work. It’s been very consuming and an incredibly emotional experience. I wanted to give viewers a sense of scale, of the enormity of the contribution and sacrifice by so many ordinary – and yet extraordinary - men and women, but all the time referencing this to the dynamics of the city. With the social history thread, I could illustrate some of the alternative and positive transformations that were also developing alongside the destruction of life in the War.
“Some exceptional teamwork contributed to the end result which is a heartfelt but non-sentimental tribute to all who died, their often overlooked legacies and a gritty, genuine historical snapshot of Glasgow in the context of the First World War.”
Life is an edition of one.
- Camera: Canon EOS 10D
- Lens: Canon EF 70-200mm f/4L USM
- Exposure: 81mm, 0.5 sec, f/4, ISO 100
- Remote: Canon TC-80N3 Timer Remote Control
- Tripod: Manfrotto 3021PRO
- Date: 2008-01-15
- Series: Crazyisgood, Video Projection, Self Portraits
Copyright 2018, 2024 See-ming Lee / SML Photography / SML Universe Limited
Life is an edition of one / Personal Branding: Revision 2 / SML.20080115.10D.47550
Glasgow City Council commissioned The Projection Studio – led by Ross Ashton and Karen Monid - to create a ground-breaking giant mapped video projection show, “Glasgow’s War”, on the front of their City Chambers building to commemorate the centenary of the First World War.
The impressive, meticulously researched and compelling 27 minute work, complete with specially compiled sound-track by Karen Monid, featured stunning visuals and an emotive narrative that was specific to Glasgow, detailing the historical contributions made by the city and its communities, and the resulting social impact of World War 1.
Glasgow was the second most powerful city of the British Empire at the time, a melting pot for thriving heavy industries like ship-building, steel and engineering. It also suffered the highest per capita loss of soldiers of any city in Britain. Of the 200,000 odd who went to the battlefront … nearly 18,000 didn’t return, and around 35,000 were left badly injured, disabled or suffering from debilitating trauma related illnesses.
“It was an incredible honour to be trusted with relating such a fundamentally significant piece of history and of telling the story of Glasgow’s War with honesty and integrity” states Ashton, whose completely unique art has won multiple international Awards and holds two Guinness World Records.
Creating Content
“Glasgow’s War” detailed some of the military and social ‘firsts’ achieved by Glasgow and its citizens during the war, including the fact that its people raised £14 million sterling – a staggering amount at the time – in just 7 days during 1916 / 17 for the ’Tank Bank’ to aid the war effort. This exceeded the totals of the next three cities combined.
Principal segments were dedicated to the major battles in which Glaswegian soldiers died, including the Somme, Passchendaele (Ypres) and Arras, and parallel to this, the story also drew attention to Glasgow’s very strong anti-war / peace movements including the work of high profile campaigners James Maxton and John McLean.
It also highlighted the massive impact of the war on women. It changed their role in society forever as they stepped into industrial jobs like munitions, filled positions vacated by men going to the front lines and established major legacies in the city like founding the Erskine Hospital to care for war veterans and using local technical and engineering skills to develop prosthetic limbs.
Meticulous Research
Ashton and Monid were given access to a wealth of original material, all of which helped give the work additional resonance.
The research element of the project consumed them for two intense months. They scoured multiple archives including The Imperial War Museum; The Mitchell Museum in Glasgow which contributed much of the social materials; The Strathclyde University Archive; the Glasgow University Archive which unearthed a host of commercial and business documentation; and the archives of two prominent Scottish regiments of the day, The Royal Highland Fusiliers and the South Lanarkshire Leisure & Culture Archive.
Period film and newsreel from Pathe News was utilized in making the visual content and local Glasgow newspapers were trawled for photographs, articles, speeches, etc. plus a host of other readings, books and references were consulted as the pair got thoroughly ‘into the zone’.
Much of the material wasn’t digitised, especially the military archives. Monid found herself painstakingly transcribing from original materials like letters home from soldiers on the front, personal diaries and memos … many of which have never previously been seen.
“These were incredibly personal and moving” she comments, “They really brought out the very human elements involved in a conflict over which few had any control”.
Monid recorded around 12 different Glaswegian ‘voices’ aged between 16 and 60 years old, some dependents of World War I soldiers, who read various texts and narrative passages which she then wove into the soundscape.
Music for the piece was minimal but carefully chosen. Some popular tunes of the time were included and new material originated by re-mixing hits by music hall singers – the superstars of the day - including Harry Lauder, and reproducing songs that soldiers might sing for themselves to help alleviate the horror of daily life in the trenches.
Monid collaborated with Glasgow School of Art’s Digital Design Studio who undertook a project to recreate ‘authentic’ World War I battlefield sounds that were utilized for the relevant parts of the show.
She also recorded Pipe Major Ross Miller and drummer David Mark from the National Youth Pipe Band of Scotland who played a selection of military tunes that appeared in the research, which she could then layer into the audio track.
Projection System
Ashton specified the projection system and mapped the 75 metre wide by 40 metre tall building, which was covered with images using 24 x Christie 20K machines supplied by locally based rental company QED, all located on special towers. QED also supplied a d&b line array system for the audio.
The video control system was a d3 media server programmed by Dan Gray.
Ashton has projected onto the City Chambers before on 2009 for the highly successful “Burns Illuminated” that marked the 250th birthday of the Scottish Bard.
Joining Ashton’s creative team on the visual side of the project were Art Director Theirry Noyer and motion graphics specialist Sang Gun Kim.
They all worked alongside Derek Dunsire, Glasgow City Council’s Principal of City Centre Regeneration and Ownership Information
Roll of Honour
Right at the core of this projection spectacular was the extremely poignant ‘Roll of Honour’. This saw the names of all 17, 697 Glasgow soldiers who died in the War projected onto the cenotaph in front of the City Chambers.
This process – approximately one every second - took five hours, which set the overall timescale for the installation, during which the projection show screened seven times – each one to packed audiences.
The task of extracting the name, rank and regiment information from the database for the Roll of Honour and formatting them for video alone took Ashton five solid days!
As the final screening ended and the last name scrolled up onto the cenotaph at midnight on November 11th 2014, bugler Colour Sergeant James Thomson and piper Pipe Major Stewart Gillis from the Royal Highland Fusiliers 2nd Battalion Royal Regiment of Scotland played The Last Post … which was followed by two minutes silence.
Proud
Says Monid, “We are all extremely proud of being involved in this work. It’s been very consuming and an incredibly emotional experience. I wanted to give viewers a sense of scale, of the enormity of the contribution and sacrifice by so many ordinary – and yet extraordinary - men and women, but all the time referencing this to the dynamics of the city. With the social history thread, I could illustrate some of the alternative and positive transformations that were also developing alongside the destruction of life in the War.
“Some exceptional teamwork contributed to the end result which is a heartfelt but non-sentimental tribute to all who died, their often overlooked legacies and a gritty, genuine historical snapshot of Glasgow in the context of the First World War.”
Glasgow City Council commissioned The Projection Studio – led by Ross Ashton and Karen Monid - to create a ground-breaking giant mapped video projection show, “Glasgow’s War”, on the front of their City Chambers building to commemorate the centenary of the First World War.
The impressive, meticulously researched and compelling 27 minute work, complete with specially compiled sound-track by Karen Monid, featured stunning visuals and an emotive narrative that was specific to Glasgow, detailing the historical contributions made by the city and its communities, and the resulting social impact of World War 1.
Glasgow was the second most powerful city of the British Empire at the time, a melting pot for thriving heavy industries like ship-building, steel and engineering. It also suffered the highest per capita loss of soldiers of any city in Britain. Of the 200,000 odd who went to the battlefront … nearly 18,000 didn’t return, and around 35,000 were left badly injured, disabled or suffering from debilitating trauma related illnesses.
“It was an incredible honour to be trusted with relating such a fundamentally significant piece of history and of telling the story of Glasgow’s War with honesty and integrity” states Ashton, whose completely unique art has won multiple international Awards and holds two Guinness World Records.
Creating Content
“Glasgow’s War” detailed some of the military and social ‘firsts’ achieved by Glasgow and its citizens during the war, including the fact that its people raised £14 million sterling – a staggering amount at the time – in just 7 days during 1916 / 17 for the ’Tank Bank’ to aid the war effort. This exceeded the totals of the next three cities combined.
Principal segments were dedicated to the major battles in which Glaswegian soldiers died, including the Somme, Passchendaele (Ypres) and Arras, and parallel to this, the story also drew attention to Glasgow’s very strong anti-war / peace movements including the work of high profile campaigners James Maxton and John McLean.
It also highlighted the massive impact of the war on women. It changed their role in society forever as they stepped into industrial jobs like munitions, filled positions vacated by men going to the front lines and established major legacies in the city like founding the Erskine Hospital to care for war veterans and using local technical and engineering skills to develop prosthetic limbs.
Meticulous Research
Ashton and Monid were given access to a wealth of original material, all of which helped give the work additional resonance.
The research element of the project consumed them for two intense months. They scoured multiple archives including The Imperial War Museum; The Mitchell Museum in Glasgow which contributed much of the social materials; The Strathclyde University Archive; the Glasgow University Archive which unearthed a host of commercial and business documentation; and the archives of two prominent Scottish regiments of the day, The Royal Highland Fusiliers and the South Lanarkshire Leisure & Culture Archive.
Period film and newsreel from Pathe News was utilized in making the visual content and local Glasgow newspapers were trawled for photographs, articles, speeches, etc. plus a host of other readings, books and references were consulted as the pair got thoroughly ‘into the zone’.
Much of the material wasn’t digitised, especially the military archives. Monid found herself painstakingly transcribing from original materials like letters home from soldiers on the front, personal diaries and memos … many of which have never previously been seen.
“These were incredibly personal and moving” she comments, “They really brought out the very human elements involved in a conflict over which few had any control”.
Monid recorded around 12 different Glaswegian ‘voices’ aged between 16 and 60 years old, some dependents of World War I soldiers, who read various texts and narrative passages which she then wove into the soundscape.
Music for the piece was minimal but carefully chosen. Some popular tunes of the time were included and new material originated by re-mixing hits by music hall singers – the superstars of the day - including Harry Lauder, and reproducing songs that soldiers might sing for themselves to help alleviate the horror of daily life in the trenches.
Monid collaborated with Glasgow School of Art’s Digital Design Studio who undertook a project to recreate ‘authentic’ World War I battlefield sounds that were utilized for the relevant parts of the show.
She also recorded Pipe Major Ross Miller and drummer David Mark from the National Youth Pipe Band of Scotland who played a selection of military tunes that appeared in the research, which she could then layer into the audio track.
Projection System
Ashton specified the projection system and mapped the 75 metre wide by 40 metre tall building, which was covered with images using 24 x Christie 20K machines supplied by locally based rental company QED, all located on special towers. QED also supplied a d&b line array system for the audio.
The video control system was a d3 media server programmed by Dan Gray.
Ashton has projected onto the City Chambers before on 2009 for the highly successful “Burns Illuminated” that marked the 250th birthday of the Scottish Bard.
Joining Ashton’s creative team on the visual side of the project were Art Director Theirry Noyer and motion graphics specialist Sang Gun Kim.
They all worked alongside Derek Dunsire, Glasgow City Council’s Principal of City Centre Regeneration and Ownership Information
Roll of Honour
Right at the core of this projection spectacular was the extremely poignant ‘Roll of Honour’. This saw the names of all 17, 697 Glasgow soldiers who died in the War projected onto the cenotaph in front of the City Chambers.
This process – approximately one every second - took five hours, which set the overall timescale for the installation, during which the projection show screened seven times – each one to packed audiences.
The task of extracting the name, rank and regiment information from the database for the Roll of Honour and formatting them for video alone took Ashton five solid days!
As the final screening ended and the last name scrolled up onto the cenotaph at midnight on November 11th 2014, bugler Colour Sergeant James Thomson and piper Pipe Major Stewart Gillis from the Royal Highland Fusiliers 2nd Battalion Royal Regiment of Scotland played The Last Post … which was followed by two minutes silence.
Proud
Says Monid, “We are all extremely proud of being involved in this work. It’s been very consuming and an incredibly emotional experience. I wanted to give viewers a sense of scale, of the enormity of the contribution and sacrifice by so many ordinary – and yet extraordinary - men and women, but all the time referencing this to the dynamics of the city. With the social history thread, I could illustrate some of the alternative and positive transformations that were also developing alongside the destruction of life in the War.
“Some exceptional teamwork contributed to the end result which is a heartfelt but non-sentimental tribute to all who died, their often overlooked legacies and a gritty, genuine historical snapshot of Glasgow in the context of the First World War.”
Glasgow lost more men per capita than any other British City.
Press Release
Glasgow City Council commissioned The Projection Studio – led by Ross Ashton and Karen Monid - to create a ground-breaking giant mapped video projection show, “Glasgow’s War”, on the front of their City Chambers building to commemorate the centenary of the First World War.
The impressive, meticulously researched and compelling 27 minute work, complete with specially compiled sound-track by Karen Monid, featured stunning visuals and an emotive narrative that was specific to Glasgow, detailing the historical contributions made by the city and its communities, and the resulting social impact of World War 1.
Glasgow was the second most powerful city of the British Empire at the time, a melting pot for thriving heavy industries like ship-building, steel and engineering. It also suffered the highest per capita loss of soldiers of any city in Britain. Of the 200,000 odd who went to the battlefront … nearly 18,000 didn’t return, and around 35,000 were left badly injured, disabled or suffering from debilitating trauma related illnesses.
“It was an incredible honour to be trusted with relating such a fundamentally significant piece of history and of telling the story of Glasgow’s War with honesty and integrity” states Ashton, whose completely unique art has won multiple international Awards and holds two Guinness World Records.
Creating Content
“Glasgow’s War” detailed some of the military and social ‘firsts’ achieved by Glasgow and its citizens during the war, including the fact that its people raised £14 million sterling – a staggering amount at the time – in just 7 days during 1916 / 17 for the ’Tank Bank’ to aid the war effort. This exceeded the totals of the next three cities combined.
Principal segments were dedicated to the major battles in which Glaswegian soldiers died, including the Somme, Passchendaele (Ypres) and Arras, and parallel to this, the story also drew attention to Glasgow’s very strong anti-war / peace movements including the work of high profile campaigners James Maxton and John McLean.
It also highlighted the massive impact of the war on women. It changed their role in society forever as they stepped into industrial jobs like munitions, filled positions vacated by men going to the front lines and established major legacies in the city like founding the Erskine Hospital to care for war veterans and using local technical and engineering skills to develop prosthetic limbs.
Meticulous Research
Ashton and Monid were given access to a wealth of original material, all of which helped give the work additional resonance.
The research element of the project consumed them for two intense months. They scoured multiple archives including The Imperial War Museum; The Mitchell Museum in Glasgow which contributed much of the social materials; The Strathclyde University Archive; the Glasgow University Archive which unearthed a host of commercial and business documentation; and the archives of two prominent Scottish regiments of the day, The Royal Highland Fusiliers and the South Lanarkshire Leisure & Culture Archive.
Period film and newsreel from Pathe News was utilized in making the visual content and local Glasgow newspapers were trawled for photographs, articles, speeches, etc. plus a host of other readings, books and references were consulted as the pair got thoroughly ‘into the zone’.
Much of the material wasn’t digitised, especially the military archives. Monid found herself painstakingly transcribing from original materials like letters home from soldiers on the front, personal diaries and memos … many of which have never previously been seen.
“These were incredibly personal and moving” she comments, “They really brought out the very human elements involved in a conflict over which few had any control”.
Monid recorded around 12 different Glaswegian ‘voices’ aged between 16 and 60 years old, some dependents of World War I soldiers, who read various texts and narrative passages which she then wove into the soundscape.
Music for the piece was minimal but carefully chosen. Some popular tunes of the time were included and new material originated by re-mixing hits by music hall singers – the superstars of the day - including Harry Lauder, and reproducing songs that soldiers might sing for themselves to help alleviate the horror of daily life in the trenches.
Monid collaborated with Glasgow School of Art’s Digital Design Studio who undertook a project to recreate ‘authentic’ World War I battlefield sounds that were utilized for the relevant parts of the show.
She also recorded Pipe Major Ross Miller and drummer David Mark from the National Youth Pipe Band of Scotland who played a selection of military tunes that appeared in the research, which she could then layer into the audio track.
Projection System
Ashton specified the projection system and mapped the 75 metre wide by 40 metre tall building, which was covered with images using 24 x Christie 20K machines supplied by locally based rental company QED, all located on special towers. QED also supplied a d&b line array system for the audio.
The video control system was a d3 media server programmed by Dan Gray.
Ashton has projected onto the City Chambers before on 2009 for the highly successful “Burns Illuminated” that marked the 250th birthday of the Scottish Bard.
Joining Ashton’s creative team on the visual side of the project were Art Director Theirry Noyer and motion graphics specialist Sang Gun Kim.
They all worked alongside Derek Dunsire, Glasgow City Council’s Principal of City Centre Regeneration and Ownership Information
Roll of Honour
Right at the core of this projection spectacular was the extremely poignant ‘Roll of Honour’. This saw the names of all 17, 697 Glasgow soldiers who died in the War projected onto the cenotaph in front of the City Chambers.
This process – approximately one every second - took five hours, which set the overall timescale for the installation, during which the projection show screened seven times – each one to packed audiences.
The task of extracting the name, rank and regiment information from the database for the Roll of Honour and formatting them for video alone took Ashton five solid days!
As the final screening ended and the last name scrolled up onto the cenotaph at midnight on November 11th 2014, bugler Colour Sergeant James Thomson and piper Pipe Major Stewart Gillis from the Royal Highland Fusiliers 2nd Battalion Royal Regiment of Scotland played The Last Post … which was followed by two minutes silence.
Proud
Says Monid, “We are all extremely proud of being involved in this work. It’s been very consuming and an incredibly emotional experience. I wanted to give viewers a sense of scale, of the enormity of the contribution and sacrifice by so many ordinary – and yet extraordinary - men and women, but all the time referencing this to the dynamics of the city. With the social history thread, I could illustrate some of the alternative and positive transformations that were also developing alongside the destruction of life in the War.
“Some exceptional teamwork contributed to the end result which is a heartfelt but non-sentimental tribute to all who died, their often overlooked legacies and a gritty, genuine historical snapshot of Glasgow in the context of the First World War.”
See the video via Vimeo: www.vimeo.com/14031747
--
This simple video projection window display installation was a collaborative art project between Chairman Ting and Tangible Interaction in Vancouver, Canada.
The installation piece was created for only one night during the popular fireworks event to help maximize impact and generate awareness for Single Bicycles, a quality bicycle brand situated in downtown Vancouver on Robson Street.
From concept to production, this art installation took over a month to prepare, execute and test. The custom music track was composed and produced by Tom Pettapiece.
CREDITS + INFO:
Animation and production: Tangible Interaction
Illustration and artwork: Chairman Ting
Concept: Chairman Ting x Tangible Interaction
Music: Tom Pettapiece
Video edit: Chairman Ting
Client: Single Bicycles
Location: Vancouver, Canada
LINKS:
www.flickr.com/photos/tompettapiece/
FOLLOW:
Borderline 2011 Last day : L'Histoire de l'œil.
A. J. Splosh Girl “Accords Perdus” “Lost Chords” performance.
“Accords Perdus” ["Lost Chords"] is an interdisciplinary work that combines opera, cabaret, shibari, feminist text and video installations… This performance builds radical sociological speech about the female body and its representations.
A video projection of an Elephant in MoMA.
The Museum of Modern Art (MoMA) is an art museum located in Midtown Manhattan in New York City. It was established on November 7, 1929; 85 years ago and has been important in developing and collecting modernist art, and is often identified as the most influential museum of modern art in the world. Considered by many to have the best collection of modern Western masterpieces in the world, MoMA's holdings include more than 150,000 individual pieces in addition to approximately 22,000 films and 4 million film stills.
MEET MUNICH @ Praterinsel - Slideprojection, Videoprojection, Pixelmapping & Videodocumentation by crushed eyes
I’m Going to Get Battered over This
2014, HD Video, 15 minutes 48 seconds looped across three screens, dimensions variable
This is a quote from the first line of dialogue in the video that also questions the legality and possible repercussions in engaging with the lives of others. The video consists of audio recordings over public airwaves synchronized to footage of people on the streets of Dublin. This questions the believability and psychology of the mind to create meaning and understanding in a given situation.
Adrian Langtry investigates modern urban society utilizing video and photography to present issues of voyeurism, legality, and morality in the form of surveillance. Rather than searching for vigilant activity such as that sensationalized by the media, the documented events serve as happenings in the everyday. The urban environment is both planned and unplanned restrictively, it is sprawled topographically forcing conformity in terms of territory and navigation. Street conduct is restrictive. A human sense of awareness is required to target or be targeted, to understand and make sense of a situation, to draw conclusions in order to create patterns.
Interpretations of documented public events are liable to be misunderstood. This work is a mere illusion of this effect where fate is questioned as an acceptable method of understanding a situation. Static shots place control in the eye of the viewer, the camera looks but the viewer follows.
By Brandon Tay x Safuan Johari on the facade of the Victoria Theatre and Victorial Concert Hall of 30 artists visuals on loop throughout the night during the Light to Night Festival 2018 at the Civic District.
By Brandon Tay x Safuan Johari on the facade of the Victoria Theatre and Victorial Concert Hall of 30 artists visuals on loop throughout the night during the Light to Night Festival 2018 at the Civic District.
By Brandon Tay x Safuan Johari on the facade of the Asian Civilisations Museum of 30 artists visuals on loop throughout the night during the Light to Night Festival 2018 at the Civic District.
fever 103 // audio responsive particle animations coded in processing, projected live at our most recent show at Chicago's Martyrs, Saturday, June 27 2015.
[ i'm the member of >>radiant devices<< responsible for aesthetics & live visuals ]
I’m Going to Get Battered over This
2014, HD Video, 15 minutes 48 seconds looped across three screens, dimensions variable
This is a quote from the first line of dialogue in the video that also questions the legality and possible repercussions in engaging with the lives of others. The video consists of audio recordings over public airwaves synchronized to footage of people on the streets of Dublin. This questions the believability and psychology of the mind to create meaning and understanding in a given situation.
Adrian Langtry investigates modern urban society utilizing video and photography to present issues of voyeurism, legality, and morality in the form of surveillance. Rather than searching for vigilant activity such as that sensationalized by the media, the documented events serve as happenings in the everyday. The urban environment is both planned and unplanned restrictively, it is sprawled topographically forcing conformity in terms of territory and navigation. Street conduct is restrictive. A human sense of awareness is required to target or be targeted, to understand and make sense of a situation, to draw conclusions in order to create patterns.
Interpretations of documented public events are liable to be misunderstood. This work is a mere illusion of this effect where fate is questioned as an acceptable method of understanding a situation. Static shots place control in the eye of the viewer, the camera looks but the viewer follows.