tag:blogger.com,1999:blog-22579612632277395302024-02-14T03:39:12.883-05:00LABORATORIO DE PENSAMIENTOPlataforma autónoma de opinión, construcción, formación y debate en torno a las prácticas artísticas contemporáneasAnonymoushttp://www.blogger.com/profile/04427915350537413006noreply@blogger.comBlogger309125tag:blogger.com,1999:blog-2257961263227739530.post-45041755782690263072016-06-02T09:06:00.004-05:002023-03-09T08:44:52.149-05:00LA TRILOGÍA DIVINA: Arte + Arquitectura + Diseño. Conferencia de Lucrecia Piedrahíta en Medellin Design Week.<h1 style="text-align: center;">
LA TRILOGÍA DIVINA</h1>
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<span style="font-weight: 400;">Arte + Arquitectura + Diseño</span></h2>
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<span style="font-weight: 400;">Por: Lucrecia Piedrahita(*)</span><br />
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<span style="font-weight: 400;"><em>Las relaciones entre Arte, Arquitectura y Diseño nos implican en el mundo contemporáneo en las maneras de habitar y percibir -la esencia espiritual de las cosas-</em> (W. Benjamin), la manera en que las cosas se nos ofrecen, la forma en que éstas se transmiten. <strong>Revisar los hilos del sistema estructural que liga estas tres prácticas para entender cómo se lee una imagen, un espacio y un objeto permitirá mantener el ojo en un umbral entre lo visible y lo no visible</strong>.</span></div>
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<span style="font-weight: 400;">A través de la práctica curatorial que da cuenta de fracturas, rompimientos, de tomar una parte por el todo, se acentuará la importancia del acto interpretativo que se corresponde con el espíritu que acompaña la acción de curar: un aporte nuevo en escritura, lenguaje y maneras de traducir los espacios, las imágenes y los objetos.</span></div>
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<strong>MAMM 20 Junio, 2016 4:00 pm</strong></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC4MVgt3cLYbmHYcuOZ45FQuJudzhFYLqJ_zkbdx1KHLzpaCaWm4pgZxMLJxP-J1V1_42XwX1I4mSbPVQqv2KG2znxJS9zrobRyNErpM4niNgT43pi7wIMlpyaovjrdtP-pQP_Xqw8PAQOcRVC/s1600/1492274_218692758310231_1083114569_o.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC4MVgt3cLYbmHYcuOZ45FQuJudzhFYLqJ_zkbdx1KHLzpaCaWm4pgZxMLJxP-J1V1_42XwX1I4mSbPVQqv2KG2znxJS9zrobRyNErpM4niNgT43pi7wIMlpyaovjrdtP-pQP_Xqw8PAQOcRVC/s400/1492274_218692758310231_1083114569_o.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; line-height: 24px; text-align: justify;">Lucrecia Piedrahíta</span></td></tr>
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<br /><b>(*) Lucrecia Piedrahita</b><span style="font-weight: 400;">.</span> <span>Es <strong style="font-weight: 400;">Museóloga</strong> de la Universidad Internacional del Arte, Florencia, Italia. Curadora de Arte -becaria LIPAC - Universidad de Buenos Aires, Argentina. <strong style="font-weight: 400;">Especialista en Periodismo Urbano</strong> de la UPB. <strong style="font-weight: 400;">Especialista en Estudios Políticos</strong> en la Universidad Eafit. Cursó estudios de<strong style="font-weight: 400;"> </strong>Magister en Teoría Crítica del 17 Instituto de Estudios Críticos de México, D.F. Es <strong style="font-weight: 400;">estudiante de Arquitectura</strong> de la Facultad de Arquitectura de la UPB. </span>
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<span style="font-weight: 400;"><strong>Directora para Latinoamérica</strong> de la edición del libro de la Universidad de Chicago: </span><i><span style="font-weight: 400;">De lo que no se puede hablar. El arte político de Doris Salcedo</span></i><span style="font-weight: 400;">, escrito por Mieke Bal y publicado por la Universidad Nacional de Colombia, sede Medellín y Formacol.</span></div>
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<span style="font-weight: 400;">En 2014 se desempeñó como <strong>Asesora curatorial y museográfica</strong> de la Oficina OPUS Arquitectos para el proyecto de renovación Urbana para el Cerro Nutibara y en 2015 trabajó en la oficina L-A-P Arquitectos en calidad de <strong>Asesora Técnica en Museografía y Curaduría</strong> para el Concurso del Museo Nacional de la Memoria en Bogotá. Ha hecho parte del equipo de Visionadores de PHOTOESPAÑA. Es <strong>docente universitaria, columnista y conferenciante.</strong> Ha sido Becaria del Ministerio de Cultura. </span></div>
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<span style="font-weight: 400;">Distinguida entre los 10 Ejecutivos Jóvenes de Colombia en la categoría de Logros Culturales; por la Cámara Junior de Colombia – JCI. Es invitada a diversas universidades nacionales e internacionales para presentar la investigación (libro y catálogo) “La Memoria Decapitada”. Un análisis estético, espacial y cultural sobre la situación de desplazamiento forzado en Colombia. </span></div>
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<span style="font-weight: 400;">Invitada como profesora – visitante a la Universidad de Bergamo</span> <span style="font-weight: 400;">y como conferenciante a la Universidad de Bologna, Italia. Finalista del Concurso FURS Mejor ensayo sobre temas urbanos y regionales, promovido por la Fundación para los Estudios Urbanos y Regionales que convoca la Universidad Kent, Canterbury-Inglaterra y la Universidad Bicocca, Milán, Italia.</span></div>
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Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-81371941493160415612016-04-21T16:48:00.000-05:002016-05-09T19:05:01.658-05:00INTEMPERIE. ESTÉTICAS CONTEMPORÁNEAS DE LA NATURALEZA Y EL PAISAJE<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQQqgJKMUr6It2KMtGKepKhKOnRDwPDnMjQEUQGBEDFtoRRQWWA0oSzji11xgrE4phekRgyiitw59kona70SRWU6g5ISsu8LiiVSkdd-VOxK-9AmcQeyB-63Qd90pitqB5XuZZslqJBKNbvgHA/s1600/LP_IntemperieElCastillo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQQqgJKMUr6It2KMtGKepKhKOnRDwPDnMjQEUQGBEDFtoRRQWWA0oSzji11xgrE4phekRgyiitw59kona70SRWU6g5ISsu8LiiVSkdd-VOxK-9AmcQeyB-63Qd90pitqB5XuZZslqJBKNbvgHA/s400/LP_IntemperieElCastillo.jpg" width="500" /></a></div>
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<strong>INTEMPERIE. ESTÉTICAS CONTEMPORÁNEAS DE LA NATURALEZA Y EL PAISAJE</strong>
21 de abril, 7:00 pm. MUSEO EL CASTILLO - MUSEO & JARDINES. </div>
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Están todos cordialmente invitados. Será una cita con el buen arte!!!.
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<li style="font-size: large; line-height: 1.5em; text-align: justify;"><b>ALEXANDRA MCCORMICK</b></li>
<li style="font-size: large; line-height: 1.5em; text-align: justify;"><b>ADRIANA SALAZAR</b></li>
<li style="font-size: large; line-height: 1.5em; text-align: justify;"><b>EDWIN MONSALVE</b></li>
<li style="font-size: large; line-height: 1.5em; text-align: justify;"><b>JOHN JADER BEDOYA</b></li>
<li style="font-size: large; line-height: 1.5em; text-align: justify;"><b>SARA OLIER BROME</b></li>
<li style="font-size: large; line-height: 1.5em; text-align: justify;"><b>ÁNGELA TORRES</b></li>
<li style="font-size: large; line-height: 1.5em; text-align: justify;"><b>ALEJANDRO MUÑOZ</b></li>
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UNA CURADURÍA DE <strong>LUCRECIA PIEDRAHITA ORREGO</strong>. </div>
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Imágenes referentes en tarjeta:
Sol Lewitt, model, for Complex Form N. 20, 1989. Rg @micahlexier. / Leong Leong Architects. N. Y.</div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-64815865249419652752016-04-05T11:36:00.000-05:002016-04-05T11:36:22.433-05:00Van Gogh's 'Starry Night' was re-created with bacteria. It's as cool as it sounds.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUDDUSJRwJ9DbZDkGcGGBeN9LXOJrLol73TEF1eXJU11BV6-GSCPi11TzW9K_9aCr6NdFRZv8Za48lXwEyCPnkOuHP5sJ74-n2Ws6Esi30eH9rWlz_WhEH8LQcoi0u8-ZChX9BYQE6rNawhliY/s1600/CeC_VanGoghStarryNightBacteria_head.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUDDUSJRwJ9DbZDkGcGGBeN9LXOJrLol73TEF1eXJU11BV6-GSCPi11TzW9K_9aCr6NdFRZv8Za48lXwEyCPnkOuHP5sJ74-n2Ws6Esi30eH9rWlz_WhEH8LQcoi0u8-ZChX9BYQE6rNawhliY/s400/CeC_VanGoghStarryNightBacteria_head.png" width="400" /></a></b></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Van Gogh's 'Starry Night' was re-created with bacteria. It's as cool as it sounds.</td></tr>
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<b><a href="http://www.upworthy.com/morgan-shoaff"></a></b><br />
What do the Chicago skyline, a cat, a subway map, a Van Gogh, and a skull all have in common? <br />
<span style="background-color: yellow;"><br /><span style="background-color: yellow; color: #666666;"> They've all been re-created into beautiful masterpieces using... bacteria</span></span><span style="background-color: yellow; color: #666666;">. </span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://upw-prod-images.global.ssl.fastly.net/nugget/56278b8430666a00210000b6/attachments/boom-6a04f37d3bdaaeefd432eb62645f9362.jpg" height="399" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><a href="https://www.facebook.com/asmfan/photos/a.10154367491515200.1073741836.62453295199/10154367512175200/?type=3&theater">BOOM is right</a></b>. And BOOM is bacteria, too. </td></tr>
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The <b><a href="http://www.asm.org/">American Society for Microbiology</a></b> just held its first-ever <b>Agar Art contest</b>, challenging microbiologists to mix science with art. <br />
<b><br /> Their main rule: to use </b>microbes as the paint and <b>agar (a jelly-like substance) as the canvas</b>. </div>
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Let's just say I'm glad I wasn't a judge — it would have been a tough call. After 85 submissions came rolling in, it's evident that science and art can overlap in a very special way. <br />
Here are the top <b><a href="http://www.microbeworld.org/backend-submitted-news/1998">3 winners</a></b>: </div>
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<b>1. Neurons </b><br />
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<tr><td style="text-align: center;"><img src="http://upw-prod-images.global.ssl.fastly.net/nugget/56278fc3de896b00300000a2/attachments/Neurons-c7e4385af0bb1c8888176a6c52c8622c.jpg" height="378" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Submitted by Mehmet Berkmen of New England Biolabs, with artist Maria Penil.</td></tr>
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<b>2. NYC Biome Map </b><br />
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<tr><td style="text-align: center;"><img src="http://upw-prod-images.global.ssl.fastly.net/nugget/56278ff2de896b00300000a6/attachments/n-c121faf415a67437e6036fddcc3c2054.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Submitted by Christine Marizzi, an educator at a community lab. This art
piece was created as a collaboration between citizen scientists and
artists at Genspace: New York City's Community Biolab. </td></tr>
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A subway map! Ahh. I love this <b><a href="https://www.facebook.com/asmfan/photos/a.10154367491515200.1073741836.62453295199/10154367505685200/?type=3&theater">description</a></b> of it: </div>
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"<i>Microorganisms reside everywhere, yet they are too small to be seen with the human eye. New York City is a melting pot of cultures - both human and microbial - and every citizen has a personalized microbiome. Collectively, we shape NYC's microbiome by our lifestyle choices, and this unseen microbial world significantly impacts us.</i>" </div>
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<b>3. Harvest Season </b><br />
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<tr><td style="text-align: center;"><img src="http://upw-prod-images.global.ssl.fastly.net/nugget/5627900630666a001e0000aa/attachments/Season-6a9bc0c3f4ae5e2ea1763971767c38fd.jpg" height="400" style="margin-left: auto; margin-right: auto;" width="386" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Created by Maria Eugenia Inda, a postdoctoral researcher from Argentina working at Cold Spring Harbor Labs. </td></tr>
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<b>People's Choice Winner: Cell to Cell </b><br />
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<img src="http://upw-prod-images.global.ssl.fastly.net/nugget/5627bc0830666a002d000199/attachments/celltocellpeopleshcoice-8b3110d089ae1c7f2521c8cc8187c45c.jpg" height="300" width="400" /></div>
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It had the most Facebook Likes! Created by the group that won first place, <b>Mehmet Berkmen</b> with artist <b>Maria Penil</b>. </div>
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When the idea of bacteria goes from "ew" to "interesting!" ... that's awesome. <br />
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Bacteria is so normal and EVERYWHERE (you're entirely covered with it, sorry), but it's still often seen as such an icky thing. This is one way to show it in a different light and have a lot of fun doing so. </div>
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There were many submissions that didn't win the art contest but are still a sight to behold — like this version of <b>Van Gogh</b>'s "<b>Starry Night.</b>" Whaaat!<br />
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<img src="http://upw-prod-images.global.ssl.fastly.net/nugget/56279396de896b00230000ae/attachments/starrynight-35393561b9942b64203d181206ff28ca.jpg" height="292" width="400" /></div>
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Or this butterfly that almost looks real. <br />
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<img height="340" src="https://upw-prod-images.global.ssl.fastly.net/nugget/56279447de896b00270000ba/attachments/butterfly-1c35066fa786b039d24bd73123ceebe4.jpg" width="400" /></div>
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And then there's St. Louis. Hey there, St. Louis. <br />
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Van Gogh's 'Starry Night' was re-created with bacteria. It's as cool as it sounds.
Agar Art contest, American Society for Microbiology, art, Bacteria, Culture,
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<img src="http://upw-prod-images.global.ssl.fastly.net/nugget/5627945ade896b00180000de/attachments/louis-21f63400fc4d05786f1dcacea38f4e52.jpg" height="400" width="397" /></div>
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Looks like it was picture day for one petri dish. <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://upw-prod-images.global.ssl.fastly.net/nugget/5627946330666a00300000c8/attachments/portrait-f050ccd3f889e101ad100370ed048452.jpg" height="397" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
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What a cool competition and a way to show that science and art don't have to be seen as opposites. <br />
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Left-brained, right-brained, whatever. We tend to box ourselves in to thinking we're only good at certain things. But ... says who? Just go for it. <br />
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You can see the rest of the amazing submissions on <b><a href="https://www.facebook.com/media/set/?set=a.10154367491515200.1073741836.62453295199&type=3">Facebook</a></b>. Feel free to share them too! They worked hard, guys. <br />
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<b>ORIGINAL:</b> <b><a href="http://www.upworthy.com/van-goghs-starry-night-was-re-created-with-bacteria-its-as-cool-as-it-sounds">UpWorthy</a></b><br />
By <b><a href="http://www.upworthy.com/morgan-shoaff">Morgan Shoaff</a></b><br />
October 21, 2015</div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-78373939693452085462015-09-18T10:28:00.001-05:002015-09-18T10:28:22.618-05:00This Tower Purifies a Million Cubit Feet of Air an Hour<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://www.wired.com/wp-content/uploads/2015/09/SmogFree-ProjectRoosegaarde2-1024x683.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; line-height: 1.5em; text-align: justify;">Daan Roosegaard worked with scientist Bob Ursem and European Nano Solutions to create the Smog Free Tower. STUDIO ROOSEGAARDE</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://www.wired.com/wp-content/uploads/2015/09/SmogFree-ProjectRoosegaarde12-1024x683.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; line-height: 1.5em; text-align: justify;">The tower, shown here in Rotterdam, sucks pollution from the air into its chambers and purifies it. STUDIO ROOSEGAARDE</span></td></tr>
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<tr><td style="text-align: center;"><img src="http://www.wired.com/wp-content/uploads/2015/09/SmogFree-ProjectRoosegaarde10-1024x683.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; line-height: 1.5em; text-align: justify;">The air is sucked in from a ventilation system at the top of the tower.STUDIO ROOSEGAARDE</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://www.wired.com/wp-content/uploads/2015/09/SmogFree-ProjectRoosegaarde13-1024x683.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; line-height: 1.5em; text-align: justify;">And then it enters a chamber where the pollution becomes positively charged before latching onto grounded electrodes. The particles then becomes trapped in the chambers while the clean air escapes.Studio Roosegaarde</span></td></tr>
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<tr><td style="text-align: center;"><img src="http://www.wired.com/wp-content/uploads/2015/09/SmogFree-ProjectRoosegaarde6-1024x683.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; line-height: 1.5em; text-align: justify;">Smog. STUDIO ROOSEGAARDE</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://www.wired.com/wp-content/uploads/2015/09/Smog-Free-Ring0-1024x724.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; line-height: 1.5em; text-align: justify;">Roosegaard is compressing smog particles into jewelry, because why not? STUDIO ROOSEGAARDE</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; line-height: 1.5em; text-align: justify;">Daan Roosegaard worked with scientist Bob Ursem and European Nano Solutions to create the Smog Free Tower. STUDIO ROOSEGAARDE</span></td></tr>
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THERE’S A <span style="background-color: yellow;color:#666666;">MASSIVE vacuum cleaner</span> in the middle of a <b>Rotterdam</b> park and it’s sucking all the smog out of the air. A decent portion of it, anyway. And it isn’t a vacuum, exactly. It looks nothing like a Dyson or a Hoover. <span style="background-color: yellow;color:#666666;">It’s probably more accurate to describe it as the world’s largest air purifier</span>.</div>
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The<b><a href="https://www.studioroosegaarde.net/projects/#smog-free-project" target="_blank"> Smog Free Tower,</a></b> as it’s called, is a collaboration between Dutch designer <b><a href="https://www.studioroosegaarde.net/projects/#waterlicht">Daan Roosegaard</a></b>, <b>Delft Technology University</b> researcher <b>Bob Ursem</b>, and <b><a href="http://nanosolutionsfp7.com/" target="_blank">European Nano Solutions</a></b>, a green tech company in the Netherlands. <span style="background-color: yellow;color:#666666;">The metal tower, nearly 23 feet tall, <b>can purify up to 1 million cubic feet of air every hour</b>. </span>To put that in perspective, the Smog Free Tower would need just 10 hours to purify enough air to fill Madison Square Garden. “<i>When this baby is up and running for the day you can clean a small neighborhood,</i>” says Roosegaard.</div>
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It <b>does this by ionizing airborne smog particles</b>. Particles <b>smaller than 10 micrometers</b> in diameter (about the width of a cotton fiber) are tiny enough to inhale <b><a href="http://www3.epa.gov/pm/basic.html">and can be harmful to the heart and lungs</a></b>. </div>
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Ursem, who has been researching ionization since the early 2000s, says <span style="background-color: yellow;color:#666666;">a radial ventilation system at the top of the tower (powered by wind energy) draws in dirty air, which enters a chamber where particles <b>smaller than 15 micrometers</b> are given a positive charge</span>. Like iron shavings drawn to a magnet, the the positively charged particles attach themselves to a grounded counter electrode in the chamber. The clean air is then expelled through vents in the lower part of the tower, surrounding the structure in a bubble of clean air. Ursem notes that <b>this process doesn’t produce ozone</b>, like many other ionic air purifiers, because the particles are charged with positive voltage rather than a negative.</div>
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<span style="background-color: yellow;color:#666666;">Ursem has used the same technique in hospital purification systems, parking garages, and along roadsides</span>, but the tower is by far the biggest and prettiest application of his technology. Indeed, it’s meant to be a design object as much as a technological innovation. <b style="background-color: yellow;color:#666666;">Roosegaard is known for wacky, socially conscious design projects</b>—he’s the same guy who did the <b><a href="http://www.wired.com/2014/11/awesome-glowing-roads-highways-future/">glowing Smart Highway</a></b> in the Netherlands. He says making the tower beautiful brings widespread attention to a problem typically hidden behind bureaucracy. “<i>I’m tired of design being about chairs, tables, lamps, new cars, and new watches,</i>” he says. “<i>It’s boring, we have enough of this stuff. Let’s focus on the real issues in life.</i>”</div>
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Roosegaard has been working with Ursem and <b>ENS</b>, the company that fabricated the tower, for two years to bring it into existence, and now that it’s up and running, he says people are intrigued. He just returned from <b>Mumbai</b> where he spoke to city officials about installing a similar tower in a park, and officials in <b>Mexico City</b>, <b>Paris</b>, and <b>Beijing</b> (the smoggy city that inspired the project) also are interested. “<i>We’ve gotten a lot of requests from property developers who want to place it in a few filthy rich neighborhoods of course, and I tend to say no to these right now,</i>” he says. “<i>I think that it should be in a public space.</i>”</div>
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Roosegaard has plans to take the tower on a “<b>smog-free tour</b>” in the coming year so he can demonstrate the tower’s abilities in cities around the world. It’s a little bit of showmanship that he hopes will garner even more attention for the machine, which he calls a “<b><i>shrine-like temple of clean air</i></b>.” Roosegaard admits that his tower isn’t a final solution for cleaning a city’s air. “<i style="background-color: yellow;color:#666666;">The real solution <b>everybody knows</b></i>,” he says, adding that it’s more systematic than clearing a hole of clean air in the sky. He views the Smog Free tower as an initial step in a bottom-up approach to cleaner air, with citizens acting as the driving force. “<i>How can we create a city where in 10 years these towers aren’t necessary anymore?</i>” he says. “<i>This is the bridge towards the solution.</i>”</div>
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<b>ORIGINAL:</b> <b><a href="http://www.wired.com/2015/09/tower-purifies-million-cubic-feet-air-hour/">Wired</a></b></div>
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<span style="text-align: start;">09.18.15</span></div>
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<span style="text-align: start;"><br /></span></div>Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-27294036925110877192015-06-23T11:39:00.002-05:002015-06-23T11:39:36.989-05:00The Best Design of the Year (Maybe Ever?)<div style="font-size: large; line-height: 1.5em; text-align: justify;">
Every year, the <b><a href="https://designmuseum.org/" target="_blank">Design Museum</a></b> in London picks a single object and names it the best design of the year. It’s pretty bad sometimes! But <span style="background-color: yellow;"><span style="color: #666666;">this year, the museum <b><a href="https://designmuseum.org/exhibitions/designs-of-the-year-2015#microchips-lined-with-human-cells-awarded-design-of-the-year-2015">picked a winner</a></b>: A chip that replaces animal test subjects with a complex package of human cells</span>.</span> <br />
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It’s called a <b><a href="http://wyss.harvard.edu/viewpage/461/">lung-on-a-chip-</a></b>-a name that is very literally true, lest you think this is simply a computer chip programmed to mimic a lung. It comes from Harvard’s Wyss Institute for Biologically Inspired Engineering, which explains <b><a href="https://vimeo.com/22999280">in a great video how it works</a></b>.<br />
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<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="https://player.vimeo.com/video/22999280?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe> <br />
<a href="https://vimeo.com/22999280">Lung-on-a-Chip -- Wyss Institute</a> from <a href="https://vimeo.com/wyssinstitute">Wyss Institute</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
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<span style="color: #666666;"><span style="background-color: yellow;">This clear, simple-looking brick of plastic actually contains complex human cells, arranged in a simplified version of the way a lung works</span></span>: Along the central channels, there’s a lining of <span style="color: #666666;"><span style="background-color: yellow;">human lung cells separated from a lining of capillary blood cells by a porous membrane, just like the air sacs in your lung</span></span>: <br />
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On each side, channels create the flexing movement that an air sac does while you breathe. <br />
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<b>In other words, it’s all of the biological complexity of your lungs distilled onto a computer chip. </b><br />
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Scientists can, for example, introduce bacteria to the channels to mimic an infection—and white blood cells in the capillary channel will attack. Or, they can introduce the chemicals you breathe in regularly to mimic air pollution and its affect on your lungs. Or test new medications. <br />
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“<i>Bio-inspired micro-devices that mimic whole human organs, such as the lung on a chip, could potentially replace animal testing and bring new therapies to patients faster and at lower cost in the future,</i>” the design team explains in their video. Other labs are working on organs <b><a href="http://gizmodo.com/this-heart-on-a-chip-beats-like-the-real-thing-1690258854">like the heart and even spleen</a></b>, and <b>Wyss’ ultimate goal is to build ten different organs and link them to create a whole body. </b><br />
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Who do we have to thank for bringing news of the chip to the design world? That would be <b>Paola Antonelli</b>, <b>MoMA</b>’s Senior Curator of Architecture & Design, as <b><a href="http://www.dezeen.com/2015/06/22/human-organs-on-chips-wins-design-museum-design-of-the-year-2015-wyss-institute-harvard-university/">Dezeen points out today</a></b> in its announcement as the award’s media partner. Antonelli not only nominated the chip, she already added it to MoMA’s permanent collection in March, <b><a href="http://www.moma.org/explore/inside_out/2015/03/04/is-this-for-everyone-new-design-acquisitions-at-moma">writing on MoMA’s blog</a></b>: <br />
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<i>Esoteric or specialized, perhaps, but universally remarkable in their balance of form, function, and vision, investigations like the Wyss Institute’s Human Organs-on-Chips demonstrate new, radical intersections of synthetic biology and design. </i><br />
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In the past, the Design Museum’s pick have ranged from anodyne at best—<b><a href="http://www.telegraph.co.uk/culture/culturepicturegalleries/8383195/Design-of-the-Year-awards-2011.html">a lightbulb</a></b>, in 2011—to downright tone-deaf, like the jury’s choice of a <b>Zaha Hadid</b> building in <b>Azerbaijan</b> built by a dictatorial regime and named for a president <b><a href="http://gizmodo.com/the-troubling-history-behind-the-best-design-of-the-yea-1598103865#_ga=1.112306564.1425775626.1429542769">known for his human rights abuses</a></b>. This year, the jury really turned it around, selecting <span style="color: #666666;"><span style="background-color: yellow;">an object that is not only a brilliant piece of design, but also has the power to end the barbaric practice of animal testing while helping human patients.</span></span> <br />
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Antonelli deserves a lot of credit for caring what’s happening in science, medicine, and technology, and forcing the rest of the design world to broaden insular, myopic field of view to include objects that aren’t just lightbulbs and billion-dollar museums, great though they are. Design—<b><a href="http://designobserver.com/feature/why-design-wont-save-the-world/5777/">while it won’t save the world</a></b>—can certainly change it for good. <br />
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Contact the author at <b><a href="mailto:kelsey@Gizmodo.com">kelsey@Gizmodo.com</a></b>.<br />
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<b>ORIGINAL:</b> <b><a href="http://gizmodo.com/the-best-design-of-the-year-maybe-ever-1713353805">Gizmodo</a></b></div>
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<b><a href="http://kinja.com/kcampbelldollaghan">Kelsey Campbell-Dollaghan</a></b><br />
<b><a href="http://gizmodo.com/the-best-design-of-the-year-maybe-ever-1713353805">6/23/15 </a></b></div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-73037644743461001692015-04-06T10:18:00.000-05:002015-04-06T10:18:07.863-05:00Recycled PET Plastic Bottle Plant Sculptures by Veronika Richterová<div style="font-size: large; line-height: 1.5em; text-align: justify;">
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<span style="background-color: yellow; color: #666666;">Czech artist <b><a href="http://www.veronikarichterova.com/">Veronika Richterová</a></b> creates new life from repurposed plastic PET bottles. For the last decade the artist has used various methods of cutting, heating, and assemblage to build colorfully translucent forms of everything from crocodiles to <b><a href="http://www.veronikarichterova.com/en/my-works/pet-art-lights/">chandelier light fixtures</a></b> to <b><a href="http://www.veronikarichterova.com/en/my-works/pet-art-sculptures/plants/">plants</a></b>.</span> Her obsession with plastic bottles doesn’t stop with creating artwork, Richterová has also collected over <b><a href="http://www.veronikarichterova.com/en/pet-art-museum-3/">3,000 PET plastic objects from 76 countries</a></b> and writes extensively about the history and usage of plastic in her article <b><a href="http://www.veronikarichterova.com/en/pet-2/">A Tribute to PET Bottles</a></b>. You can see hundreds more sculptures in her <b><a href="http://www.veronikarichterova.com/en/my-works/pet-art-sculptures/">online gallery</a></b>. (via <b><a href="https://www.facebook.com/MisterFinchTextileArt/photos/a.116679208507137.21363.116181915223533/403882473120141/?type=1&theater">Mister Finch</a></b>, <b><a href="http://lustik.tumblr.com/post/109750777167/pet-art-sculptures-veronica-richterova-via">Lustik</a></b>) <br />
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<b>ORIGINAL:</b> <b><a href="http://www.thisiscolossal.com/2015/04/recycled-plastic-bottle-plant-sculptures-by-veronika-richterova/">This Is Colossal</a></b></div>
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by <b><a href="http://thisiscolossal.com/about">Christopher Jobson</a></b> </div>
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Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-80395520809460547352015-01-06T09:51:00.000-05:002015-01-06T09:51:44.537-05:00<div style="font-size: medium; line-height: 1.5em; text-align: justify;">
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The projection mapping "<i><b>bioluminescent forest</b></i>" is made by artists <b>Friedrich van Schoor</b> and <b>Tarek Mawad</b>.<br />
The artists spent six weeks in the forest fascinated by the silence and natural occurrences in nature, especially the phenomenon "bioluminescence". They personified the forest to accentuate the natural beauty by creating luring luminescent plants and glowing magical mushrooms that speaks volumes to any visitor that enters the minds of the artists through viewing "bioluminescent forest". <br />
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More information on the project: <b><a href="http://www.bioluminescent-forest.com/">bioluminescent-forest.com</a></b><br />
<b>Friedrich van Schoor: <a href="http://www.vanscore.com/">vanscore.com</a><br /> Tarek Mawad</b>: <a href="http://www.tarekmawad.com/">tarekmawad.com</a> <br />
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Many thanks to <b>Achim Treu</b>, Composer and Sounddesigner.<br />
private homepage: <a href="http://www.ufohawaii.com/">ufohawaii.com</a><br />
commercial homepage: <a href="http://www.treumedia.de/">treumedia.de</a><br />
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While we’ve seen many examples of projection mapping on the sides of buildings or other relatively flat surfaces in an attempt to add depth or dimension, it seems photographers and digital artists are getting progressively more innovative as the technology continues to evolve. Last week we saw a <b><a href="http://www.thisiscolossal.com/2015/01/pixel-a-mesmerizing-dance-performance-incorporating-digital-projection/">commendable dance performance</a></b> making use of projection mapping, and now<span style="background-color:#ffff33;color:#333333;"> photographer <b><a href="http://www.tarekmawad.com/">Tarek Mawad</a></b> and animator <b><a href="http://www.vanscore.com/">Friedrich van Schoor</a></b> just spent six weeks embedded in nature to create <b><a href="http://www.bioluminescent-forest.com/">Bioluminescent Forest</a></b>.</span> The 4-minute short film imagines what various plants, insects, spiderwebs, and mushrooms might look like if they possessed the ability to emit bioluminescent light, creating a strange wonderland of blinking and twinkling organisms. The filmmakers state that everything you see was created live, without any effects added in post-production. You can watch a behind-the-scenes clip <b><a href="https://vimeo.com/113933784">here</a></b>. (via <b><a href="http://petapixel.com/2015/01/01/projector-brought-forest-turns-nature-glowing-wonderland/">PetaPixel</a></b>, <b><a href="http://thekidshouldseethis.com/post/bioluminescent-forest-nature-reimagined-with-projection-mapping">The Kid Should See This</a></b>)<br />
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<b>ORIGINAL:</b> <b><a href="http://www.thisiscolossal.com/2015/01/a-bioluminescent-forest-created-with-digital-projection-mapping/">Colossal</a></b></div>
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by <b><a href="http://thisiscolossal.com/about">Christopher Jobson</a></b> </div>
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January 5, 2015 </div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-2061447511137029432014-12-25T10:29:00.000-05:002014-12-25T10:29:12.134-05:00El pueblo Africano donde cada casa es una obra de arte<div style="font-size: medium; line-height: 1.5em; text-align: justify;">
<b>ORIGINAL:</b> <b><a href="http://www.upsocl.com/mundo/el-pueblo-africano-donde-cada-casa-es-una-obra-de-arte/">UpSocl</a></b></div>
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Por Francisco Lira</div>
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<b>Burkina Faso</b> no es una zona frecuentada por los turistas, pero <span style="background-color: yellow; color: #666666;">en la base de una colina con vista a la sabana de África occidental se encuentra un pueblo extraordinario. Un complejo de 1,2 hectáreas con arquitectura circular de tierra, intrincadamente bello. Es la residencia del jefe, la corte real y la nobleza de la gente <b>Kassena</b>, que colonizaron la región en el siglo 15, convirtiéndose en uno de los grupos étnicos más antiguos de Burkina Faso. Este pueblo es <b>Tiébélé</b>.</span></div>
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El pueblo se mantiene extremadamente aislado y cerrado a los extraños, muy probablemente para asegurar la conservación y la integridad de sus estructuras y de proteger las tradiciones locales.</div>
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Una residencia real en el África no es lo que podríamos pensar en cuando imaginamos palacios reales. <span style="background-color: yellow; color: #666666;">En Tiébélé, la corte real se compone de una serie de pequeñas estructuras de adobe, cubierto con pinturas de arcilla naturales, con patrones geométricos elaborados para diferenciarlas de las casas de la gente común.</span></div>
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<img src="http://cdn3.upsocl.com/wp-content/uploads/2014/09/041.jpg" height="266" width="400" /><img src="http://cdn2.upsocl.com/wp-content/uploads/2014/09/051.jpg" height="400" width="266" /><img src="http://cdn2.upsocl.com/wp-content/uploads/2014/09/061.jpg" height="266" width="400" /><img src="http://cdn3.upsocl.com/wp-content/uploads/2014/09/071.jpg" height="266" width="400" /><img src="http://cdn2.upsocl.com/wp-content/uploads/2014/09/081.jpg" height="266" width="400" /><img src="http://cdn3.upsocl.com/wp-content/uploads/2014/09/091.jpg" height="400" width="266" /><img src="http://cdn3.upsocl.com/wp-content/uploads/2014/09/104.jpg" height="266" width="400" /><img src="http://cdn3.upsocl.com/wp-content/uploads/2014/09/116.jpg" height="400" width="266" /><img src="http://cdn3.upsocl.com/wp-content/uploads/2014/09/124.jpg" height="266" width="400" /><img src="http://cdn5.upsocl.com/wp-content/uploads/2014/09/134.jpg" height="266" width="400" /><img src="http://cdn2.upsocl.com/wp-content/uploads/2014/09/144.jpg" height="266" width="400" /><img src="http://cdn2.upsocl.com/wp-content/uploads/2014/09/154.jpg" height="266" width="400" /></div>
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Toda las fotografías son de <b><a href="https://www.flickr.com/photos/rietje/sets/72157615598783227/with/3379128777/">Rita Willaert</a></b></div>
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<b><a href="http://www.dailymail.co.uk/news/article-2260910/African-village-building-canvas-house-palace-tomb-dead.html">Original</a></b></div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-53738637262248544642014-04-08T06:43:00.001-05:002014-04-08T07:24:36.016-05:00No más “Bug Splats”<div style="font-size: medium; line-height: 1,5em; text-align: justify;">
<b>ORIGINAL:</b> <b><a href="http://occupart.org/es/no-mas-bug-splats/" target="_blank">Occupart.org</a></b></div>
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En el slang militar, <span style="background-color: yellow; color: black;">“<i><b>Bug Splats</b></i>” hace referencia a la muerte de las personas que desde la visualización de la cámara de un Dron, se ven como pequeños insectos aplastados</span>.</div>
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Un colectivo artístico instaló en el suelo de <b>Khyber Pukhtoonkhwa</b>, en <b>Pakistán</b>, una de las zonas más afectadas por estos bombardeos, una fotografía a gran escala de una niña en representación de todos los niños que podrían convertirse en víctimas de los ataques, retando así la insensibilidad de los operadores de los aviones. <span style="background-color: yellow; color: black;">La imagen está diseñada para ser <b>captada por satélites</b>, para que no sea sólo una iniciativa temporal, sino que sea incorporada permanentemente en los mapas satelitales que se encuentran en la red.</span></div>
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La iniciativa tiene como referencia el arte de <b>JR</b>, un<span style="background-color: yellow; color: black;"> artista francés que se ha dedicado a utilizar las imágenes a gran formato como forma de protesta social.</span></div>
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Los creadores esperan con su obra de arte gigante “<i>crear empatía y reflexión entre los operadores de los aviones no tripulados, y que pueda llegar a generarse un diálogo entre los autores políticos, para que finalmente se implemenen decisiones que salvarán las vidas de gente inocente.</i>”</div>
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<span style="background-color: yellow; color: black;">La identidad de la niña es anónima, pero de acuerdo con <b>Foundation for Fundamental Rights (FFR)</b>, la niña perdió a ambos padres y dos hermanos menores a causa de los ataques de Drones</span>.</div>
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Fuente: http://notabugsplat.com/</div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-54159469599417256132014-04-01T17:26:00.002-05:002014-04-01T17:26:52.760-05:00Doris Salcedo a través de un libro <div style="font-size: medium; line-height: 1,5em; text-align: justify;">
<b>ORIGINAL:</b> <b><a href="http://www.elcolombiano.com/BancoConocimiento/D/doris_salcedo_a_traves_de_un_libro/doris_salcedo_a_traves_de_un_libro.asp">El Colombiano</a></b></div>
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Por MÓNICA QUINTERO RESTREPO</div>
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31 de marzo de 2014<br />
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<tr><td class="tr-caption" style="text-align: center;">La expografía llama la atención desde el muro que hay afuera de la sala. FOTO MANUEL SALDARRIAGA </td></tr>
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De lo que no se puede hablar es un libro que <b>Mieke Bal</b>, gran teórica del arte, escribió sobre la artista <b>Doris Salcedo</b>. Ahora se edita en español y se puede empezar a leer en una expografía. <br />
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Están repetidas, muchas veces, como si fuera un conjuro. Letras blancas, fondo negro, mayúsculas. En el muro no hay más palabras que esas siete, de las que no se sabe nada, tampoco: De lo que no se puede hablar. Hay dibujos, pero los dibujos también están repetidos.<br />
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Al frente del puente que hay en la <b>Facultad de Arquitectura y Diseño de la UPB</b>, arriba de la puerta de la sala de Arquitectura, antes del muro que tiene las hojas con las palabras repetidas, está el video en el que aparece la primera señal de respuesta. Se habla de <b>Doris Salcedo</b>, la artista colombiana que puede vender una obra por más de 300 mil dólares.<br />
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El video de la pared blanca es para continuar la pregunta. <i><b>¿De qué es lo que no se puede hablar?</b></i> La respuesta está después de la puerta de la sala de Arquitectura, donde está la expografía y unas máquinas de producción editorial e industrial y fotos de las obras de Doris Salcedo y un libro y las páginas del libro pegadas a la pared, pero la historia comienza mucho antes y con el nombre de Mieke Bal, la historiadora, crítica de arte y teórica de literatura. Porque no habría expografía sino hubiera libro.<br />
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<b>El libro</b><br />
"<i>El libro es un proyecto de la Universidad de Chicago, escrito por la teórica de los estudios visuales, una figura muy reconocida, Mieke Bal, en el que hace una mirada retrospectiva de la obra de Doris Salcedo. Si nosotros revisamos, la fortuna crítica de la artista es muy alta, pero en producción intelectual no se ha escrito mucho sobre ella. Ha sido reseñada por los grandes periódicos, pero nunca se había hecho un texto académico de tal profundidad</i>", explica <b>Lucrecia Piedrahíta</b>, la curadora.<br />
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Mieke empieza a hacer el libro en 2002. En algún momento visita el <b>Moma</b>, <b>Museo de Arte Moderno de Nueva York</b>, donde se encuentra con <b>Atrabiliarios</b>, la obra de la colombiana. La teórica queda con la idea, contacta a Salcedo e inicia un trabajo de reflexión desde lo antropológico, lo filosófico, la comunicación, los estudios visuales.<br />
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"<i>Lo hace para acercarse a la propuesta</i> —sigue Lucrecia—<i> y, en última instancia, hablar de si en la obra de Salcedo existe decididamente una postura frente a lo político. El nombre del libro, Of what one cannot speak Doris Salcedo"s political art, es contundente, porque ha hecho una revisión lúcida de los fenómenos de la violencia en Colombia, del desplazamiento, de la discriminación, de un país construido a partir de las diferencias</i>".<br />
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Mieke va a analizar esos temas que, por la construcción estética y plástica que les da la artista, se vuelven universales, sin perder la singularidad, y ahí está su potencia conceptual y formal. La teórica revisa en el libro la pregunta por el arte político y desde ahí por otras ideas, como la relación entre espacio y escultura, espacio y obra instalada, contenido y contenedor, los cuerpos mismos.<br />
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—Contra la violencia masiva que amontona innumerables zapatos como vestigios de la masacre (en relación a la obra Atrabiliarios), pero desdeña la singularidad irreductible de cada víctima, el arte de Salcedo lleva a cabo una búsqueda indagatoria de la singularidad. Su obra la concibe como herramienta con la cual el arte adquiere un tipo de agencia cultural eficaz y con consecuencias en la llamada esfera de "lo político" — escribe Mieke en el libro, que se publicó en inglés, en 2010.<br />
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<b>En español </b><br />
La noticia de ahora, <b>cuatro años después, es que <i>Of what one cannot speak. Doris Salcedo"s political art</i></b> será De lo que no se puede hablar. El arte político de Doris Salcedo, es decir, tendrá su edición en español.<br />
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Entonces hay que devolverse en el tiempo, otra vez. Lucrecia contactó a la crítica en 2009, cuando ella todavía escribía sobre Salcedo, como una admiradora más de su escritura y su análisis del arte y hasta le envió el capítulo de la tesis de su especialización, que referenciaba la obra de Salcedo. De conversación en conversación, Mieke le propuso coordinar la edición en español De lo que no se puede hablar, en el que, para su sorpresa, citó sus ideas, y en eso anda, junto a <b>Formacol</b> y la <b>Universidad Nacional</b>, desde entonces. La traducción es de <b>Marcelo Cohen</b> y el crítico español <b>Miguel Ángel Hernández</b>, muy cercano a la teórica.<br />
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El libro será lanzado en Medellín y Bogotá en mayo y vendrá Mieke y habrá conversaciones. Habrá una exposición, curada por Lucrecia, sobre el proyecto <b>Madame B</b> que hizo Mieke con la artista <b>Michelle Williams,</b> con el que llevaron al cine una versión contemporánea de <b>Madame Bovary</b>. <br />
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Será la primera vez de la crítica en Colombia y la segunda en Latinoamérica, pues ya estuvo en México, en una muestra que curó <b>Néstor García Canclini</b>.<br />
<b><br />Un acercamiento</b><br />
Lo que pensó Lucrecia fue que no se podía solo presentar el libro, sin preparar al público, para que la gente tenga herramientas para leer la obra de Salcedo. "<i>Si hablas de Doris hay una cosa muy especial y es que la gente o la ha escuchado nombrar o la conoce someramente, casi todos solo recuerdan la grieta. Lo que queremos es profundizar</i>".<br />
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La expografía que se muestra en la UPB, con el nombre del libro, De lo que no se puede hablar —por eso la repetición en el mural, como invitación a entrar— es, por tanto, ese primer acercamiento. No es una exposición, precisa Lucrecia, porque no se expone la obra de Doris, sino el pensamiento estético de Salcedo revisado desde la academia por Mieke Bal. <br />
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Hay videos sobre Doris, con testimonios que ayudan a explicarla y a conocerla, está el libro físico, hojas del libro dispuestas a manera de archivo en la pared y fotografías de la obra que se extraen del documento, frases de Salcedo y de Mieke. Además está una maquinaria que hizo parte de la <b>editorial Colina</b>, que cuando entró a la sala paralizó el sector de la universidad, por la osadía de meter tres máquinas tan grandes y tan pesadas en esa sala pequeña. "<i>No es musealizar el libro —precisa la coordinadora—, sino ponerlo en conversación con ese laboratorio experimental que representa un taller editorial</i>".<br />
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Al final, 400 páginas que hablan de Salcedo y una historia que empieza en Mieke, pero termina en el público. En última, comenta la curadora, es una cita con las palabras y, por supuesto, con el arte de la artista contemporánea más importante que tiene Colombia, por ahora. La misma que dice, según se lee en el libro de Mieke, "<i>creo que el arte siempre es producto de una necesidad</i>" <br />
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<b>DESDE ADENTRO </b><br />
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<b>UN TRABAJO EN EQUIPO </b><br />
<b>La expografía se puede ver desde el martes, en el bloque 10 de la UPB</b>. Para el proyecto editorial de traducir el libro a español, a la oficina de Lucrecia y los arquitectos <b>Julián Oquendo</b> y<b> Julio César Cabrera</b> quienes actúan como museógrafos, los apoyaron la Universidad Nacional, sede Medellín, y el industrial <b>Hans U. Steinhäuser</b>. Más tarde se unieron la <b>Alcaldía</b> y la UPB. El libro será lanzado el <b>22 de mayo</b> en la Universidad Nacional. El proyecto Madame B se expondrá en Eafit y en la Nacional. <br />
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<b>EN DEFINITIVA </b><br />
Este martes se inaugura una expografía del libro De lo que no se puede hablar, que la teórica Mieke Bal escribió sobre Doris Salcedo. Un primer acercamiento a un proyecto más grande. </div>
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Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-35558163647111134152014-03-11T16:44:00.002-05:002014-03-11T16:44:46.351-05:00Artist carves phone books into portraits to honor the faceless<div style="font-size: medium; line-height: 1,5em; text-align: justify;">
<b>ORIGINAL:</b> <b><a href="http://www.mnn.com/lifestyle/recycling/blogs/artist-carves-phone-books-into-portraits-to-honor-the-faceless">Mother Nature Network</a></b><br />
Thu, Nov 21, 2013<b><a href="http://www.mnn.com/lifestyle/recycling/blogs/artist-carves-phone-books-into-portraits-to-honor-the-faceless#comments"></a></b><br />
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<b>Nobody uses phone books anymore, right? </b><br />
Wrong. Using the very same bulky, cumbersome books that most of us toss into the recycling bin without a second thought, artist <b>Alex Queral</b> carves <b><a href="http://www.mnn.com/lifestyle/arts-culture/stories/artist-carves-vintage-books-into-astoundingly-intricate-3-d">amazing 3-D sculpture</a></b> portraits featuring subjects like celebrities, world leaders, and even abstract creations. <br />
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"<i>In carving and painting a head from a phone directory, I’m celebrating the individual lost in the anonymous list of thousands of names that describe the size of the community,</i>" Queral says in <b><a href="http://www.projectsgallery.com/Queral/Queral_CV.html">his artist's statement</a></b>. "<i>In addition, I like the idea of creating something that is normally discarded every year into an object of longevity.</i>" <br />
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"<i>Alex Queral carves a face into this object of so many faceless names,</i>" the <b><a href="http://www.projectsgallery.com/Queral.html">Projects Gallery</a></b> description of his artwork reads. "<i>With the book, <b>a very sharp X-Acto knife</b>, a little pot of acrylic medium to set detail areas and a great deal of talent, Queral literally peels away the pages like the skin of an onion to reveal the portrait within</i>." <br />
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Albert Einstein </div>
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Clint Eastwood </div>
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Alfred Hitchcock </div>
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<img src="http://www.mnn.com/sites/default/files/user/181799/Queral_The_One.jpg" height="400" width="324" /></div>
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President Barack Obama </div>
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<b><a href="http://www.mnn.com/sites/default/files/user/181799/Queral_TheManWhoFellToEarth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.mnn.com/sites/default/files/user/181799/Queral_TheManWhoFellToEarth.jpg" height="400" width="313" /></a></b></div>
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David Bowie </div>
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Louise Fletcher as Nurse Mildred Ratched, "<b>One Flew Over the Cuckoo's Nest</b>" </div>
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<img src="http://www.mnn.com/sites/default/files/user/181799/Queral_Free_Tibet_0.jpg" height="400" style="cursor: move;" width="322" /></div>
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Dalai Lama </div>
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Young Bob Dylan </div>
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"Alter Ego"</div>
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Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-76924214837325778582014-03-11T16:37:00.001-05:002015-04-06T10:54:04.133-05:00Flavours Orchard, an ambitious eco-project in China<br />
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<b>Flavours Orchard, 45 Plus-Energy
(BEPOS) Villas In A Smart Grid </b><br />
Kunming 2014<br />
Yunnan Province,
Southwest China
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TYPE : <b>Architectural & Engineering Commission</b><br />
CLIENT : <b>Private Developer, Kunming</b><br />
PROGRAM : <b>Construction of 45 Plus-Energy (BEPOS) Villas</b><br />
PROJECT TITLE : <b>Flavours Orchard</b><br />
CONTRACT PERFORMANCE LOCATION : <b>Dianchi Lake, Kunming, Southwest China City</b><br />
SURFACE AREA : <b>90.000 m²</b><br />
YEAR : <b>2014</b><br />
VCA’S TEAM: <b>Jiaoyang Huang, Benoit Patterlini, Maguy Delrieu, Olivier Sylvain, Vincent Callebaut</b><br />
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<br />
“<b>THE FLAVOURS ORCHARD</b>”<br />
CONSTRUCTION OF 45 PLUS-ENERGY (BEPOS) VILLAS IN A SMART GRID<br />
KUNMING 2014, YUNNAN PROVINCE, SOUTHWEST CHINA<br />
<br />
<b>1. CHINA’S ECO-HIGH-TECH CITIES : TOWARDS AN ENERGY EFFICIENT COMMUNITY IN KUNMING</b><br />
<br />
Stepping out of your plus-energy house regulating the light and the temperature cleverly and automatically according to the sun’s path. Catch the vital energies of the nature by training ourselves <b>Tai Chi Chuan</b> or <b>Qi Gong</b> under a snow of cherry tree petals. Cultivate together with our neighbors the community vegetable garden. Harvest the organic vegetables for the family dinner. Wander between the marshes of rainwater harvesting and the recycling lagoons where the sky of koï carps is covered of lotus flowers. Swim in a naturally filtered swimming-pool. Admire the elegant and nagging axial wind turbines. <br />
<br />
Listen the laughter of children of the <b>eco-district</b> who share with their grandparents the games of <b>Mahjong, Go and Cuju</b> in the wild field. <span style="background-color: yellow; color: black;">Recycle our organic waste in compost wells producing natural fertilizer</span>. Sort out the other waste via a silent and underground pneumatic collection system. Go to work by<b> electric bicycle or driverless car</b> (Electric Networked-Vehicle), both recharged directly by the <b>photovoltaic roof</b> of the house. Follow the road whose sensory LED lights match according to sounds and movements of the city-dwellers. <br />
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This is the <b>Eco-High-Tech</b> atmosphere of the “<b>Flavours Orchard</b>” project. It’s a pioneer project that fights for the conception of eco-responsible lifestyles along the <b>Daguan</b> river connecting the “<b>Emerald</b>”, the green lake of the city centre of <b>Kunning</b>, to the magnificent <b>Dianchi Lake</b> in the South. Capital of the <b>Yunnan</b> province, the city is located at 1894 meters high and benefits from a temperate climate all the year that gives to it the charming name of <b>«The City of Eternal Spring »</b>. <br />
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<span style="background-color: yellow; color: black;">The site of several hectares is an old industrial wasteland devoted to be restored in<b> a new eco-district whose exemplarity in terms of sustainable innovations is supposed to be reproducible everywhere in China</b></span><b>.</b> The leitmotiv is to <span style="background-color: yellow; color: black;"><b>produce more energy and biodiversity than we consume</b> by recycling at the same time our waste in reusable natural resources endlessly towards a post-nuclear, post-fossil and zero carbon emission city</span>. Through the creation of such projects, China is recovering its delay on the ecological debt reimbursement and tries to slow down the massive rural exodus it suffers by the creation of new urban prototypes mixing all the advantages of the city and the countryside. <br />
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<b>2. 45 PLUS-ENERGY (BEPOS) VILLAS PLANTED IN THE SMART GRID OF A COMMUNITY ORCHARD</b><br />
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The <span style="background-color: yellow; color: black;">building sector is a primary energy consumer particularly in China (<b>40%</b> of total consumed energy) in front of the <b>transports</b> (<b>30%</b>) and the <b>industry</b> (<b>30%</b>)</span>. It is <span style="background-color: yellow; color: black;">responsible for more than 40% of total emissions of CO2</span>. It’s obvious that the energy savings are thus the major economic and ecological challenge for this sector. Whereas the prices of the fuel and the non-renewable energy increase unavoidably, the objective is to divide by 10 the consumption of this construction sector for an equivalent service within the next ten years. <br />
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In this perspective, the concept of this new « Flavours Orchard » eco-district is to <span style="background-color: yellow; color: black;">build <b>45 Plus-Energy Villas</b> in a huge community orchard/food garden integrating a Smart Grid self-managed by the <b>gardener-inhabitants</b> and the participants of the project.</span> <br />
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In the heart of this nourishing landscape, the goal is to associate a state-of-the-art for smart building automation systems and information integrated in each villa (leading to cost reduction and Increased functionality) with an intelligent energy network in order to redistribute the produced excess (electric, calorific, food) towards the nearest needs so as to prevent from the loss in lines or related to the storage systems. In addition to the fuel cells, the electric vehicles are also used as buffer storage of electricity excess produced by the solar roofs assuring thus the daily travels of the inhabitants for free. <br />
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<span style="background-color: yellow; color: black;">The objective is also to repatriate the production of the organic agriculture in the heart of the city</span>, center of its consumption. This<span style="background-color: yellow; color: black;"> bio-geographical integration of the master plan respects the natural qualities of the site and maintains the continuity of the endemic ecosystems (trees, hedges, streams, floras and fauna are preserved)</span>. Flavours Orchard is a genuine garden sharing its energies designed and cultivated collectively. Ideas are here more shared than the ground, the sun or the wind because it deals not only with producing what to eat, lighten and air conditions but also to meet on a common ground of ecological experimentations and collective projects. It’s an urban landscape open to everybody without fence between the villas, in favor of the neighborhood relationships and the intercultural and intergenerational social links. It’s an educational tool about the environment respect thanks to its ecological master plan, its organic agriculture technics, its smart home automation strategies and its integration of renewable energies. <br />
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The private garages for electric cars and the technical rooms for home automation are located underground. This basement distributes each villa under the central path to liberate completely the orchard dedicated only to pedestrians, cyclists or electric driverless cars. <br />
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The<span style="background-color: yellow; color: black;"> future families of these Plus-Energy villas<b> will be able to live and work comfortably in their villa reinventing new eco-responsible lifestyles</b> maximizing the normal living standards. </span><br />
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The 45 Plus-Energy Villas produce more energy from renewable energy sources, over the course of a year, than they consume from external sources. This is achieved by using large North and South facing window areas to <b>allow sunlight to penetrate the structure</b>, by reducing the need for energy use from air cooling units and light bulbs with triple-glazed windows, and by the addition of heavy insulation that means the structure is already warm in the evening and therefore needs less heating. <br />
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These <b>passive buildings (BEPAS)</b> that capture heat during the day in order to reduce the need to generate heat over night, exceed their energy needs through renewable energy production by the integration of<b> solar photovoltaic and solar thermal panels</b>, <b>geothermal</b> heat exchangers, and <b>combined heat and power units (CHP)</b>. All <span style="background-color: yellow; color: black;">grey water is recycled in lagoons for agricultural irrigation and toilet flushing</span>. All waste water will be sent to <b>bio-reactor facades</b> (with panels filled with algae) for <b>anaerobic digestion</b> and the <b>methane</b> emitted during the digestion process will be used to produce energy and to cool the interiors. <br />
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The construction of positive energy constitutes a high technological and conceptual rupture. These villas are thermally insulated without discontinuity and without thermal bridges. They are airtight, present controlled ventilation and are also equipped with economical domestic appliances of A+++ class. They generalize the <b>LED lighting</b> with<span style="background-color: yellow; color: black;"> automatic detection of presence and needs</span>. They have a total consumption of primary energy (heating, sanitary hot water, lighting, all appliances) estimated at less than <b>50 kWh/m2/year</b> <span style="background-color: yellow; color: black;">for an average production that can reach 100 kWh/m2/year via the sun or wind</span>. According to the usage of inhabitants, the consumption of primary energy could even decrease under 35 kWh/m2/year. <br />
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<span style="background-color: yellow; color: black;">The 45 villas building with a <b>wood/steel structure</b> are divided into three architectural typologies forming thus 3 eco-districts having their own identity</span>: <br />
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<b>2.1. THE “MOBIÜS” VILLA (15 units) </b><br />
The <b>Mobius Villa</b> is organized around an endless ribbon drawing the symbol of infinity around<span style="background-color: yellow; color: black;"> two patios, one aquatic and the other planted</span>. This ribbon with primary steel structure and secondary wood frame is built from the repetition of <b><span style="background-color: yellow; color: black;">one trapezoidal module repeated 24 times in the space. </span></b>This <span style="background-color: yellow; color: black;">module, opened at 30 degrees forms thus a pedestrian sloping path of 720 degrees along its double revolution</span>. It contains all the bedrooms, the bathrooms, the offices, the libraries and the game rooms. It is <b>covered by a green roof</b>, true suspended vegetable garden with high thermal inertia and with a <b>zenithal photovoltaic glass roof</b>. The curved geometry forms a snake in sustentation on top of a façade in “8” with supporting frames. Louvered shutters in translucent glass pivot automatically along this glass facade to regulate the solar inputs during the day. <br />
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The panoramic ground floor aims at immersing the diurnal life spaces in the heart of a clearing coiled in the orchard. The<span style="background-color: yellow; color: black;"> living room, the kitchens and reception rooms are located around the central vertical axis of the project</span>. Actually at the intersection of the double loop, the vertical circulations distribute the 4 inhabited levels and the garden roof. <br />
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<b>2.2. THE “MOUNTAIN” VILLA (15 units) </b><br />
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The <span style="background-color: yellow; color: black;"><b>Mountain Villa</b> opens out at 180 degrees such as a huge Chinese fan</span> built from east to west to ideally follow the sun’s path. It’s<span style="background-color: yellow; color: black;"> a double-skin architecture presenting a south facade very glazed and a very opaque north façade in wood presenting 20% of perforation</span>. The 22 arches are linked together by cables. They are <span style="background-color: yellow; color: black;">closed by solarized photovoltaic glass panels</span>. Panels filled with algae are also integrated to the conception in the 7 central arches to produce <b>bio-hydrogen</b>. The second exterior skin develops a glued laminated timber frame and works as a huge windscreen shaped in wood lace. This trellis enables to assure the intimacy of the inhabitants and to regulate the inputs of heat by subduing the solar rays from east to west. <br />
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In the center of the villa, an atrium full of light raises on 4 levels. A spiral staircase coils around a panoramic glazed elevator to distribute all the night and relaxation spaces. The living rooms and reception spaces are opened towards the landscape by a big arch going through the North and South facades. <br />
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<b>2.3. THE “SHELL” VILLA (15 units) </b><br />
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The <span style="background-color: yellow; color: black;"><b>Shell Villa</b> liberates itself from the ground on its <b>6 stainless steel pillars</b> to stretch towards the sky</span> and to<span style="background-color: yellow; color: black;"> make its <b>axial wind turbine</b> higher than the top of the fruit trees</span>. A circular deck takes the loads of a glued laminated timber carpentry that is plaited in diamonds such as a conical Chinese hat. It’s a cocoon villa drawn in double curves and organized around three patios in spiral that fit closely the membranes of the twisted wood beams. <br />
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These patios are isolated by the glass façades whereas three stainless steel petals put on insulating cushions coat the structure from outside. This radiant wood structure is divided into 36 standardized beams that are spaced out from each other by 10 degrees from their center. Thus, from the life spaces we obtain panoramic views on the whole orchard whereas an elevator goes through all the levels to the top of the mast of the axial wind turbine. <br />
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<span style="background-color: yellow; color: black;">These three typologies of Plus-Energy Villas set up in the clearings of the great community orchard are the symbol that it is possible to <b>invent new contemporary models of eco-responsible housing </b>mixing the economical evolution in China and the worldwide respect of the environment.</span> The precursory inhabitants are linked together by their citizen commitment for a new ecological ideal that is energetically efficient, collective and sustainable. <br />
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Through Architecture, the social life between city and countryside is first of all reinvented! <br />
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© Vincent Callebaut Architect<br />
<b>ORIGINAL:</b> <b><a href="http://vincent.callebaut.org/page1-img-flavoursorchard.html" target="_blank">Vincent Callebaut</a> </b> <br />
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<b><b>Could this ambitious project combine what's best about city and rural living? </b></b><br />
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Could this ambitious project combine what's best about city and rural living? </div>
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<img src="http://c.fastcompany.net/multisite_files/fastcompany/imagecache/slideshow_large/slideshow/2014/03/3027279-slide-vincent-callebaut-flavours-orchard-designboom-01.jpg" width="400" /></div>
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The “Flavours Orchard” project, near the city of Kunming in southwest China, will be built on 22 acres of former industrial wasteland. </div>
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It’s a way for China to “<i>slow down the massive rural exodus it suffers by the creation of new urban prototypes mixing all the advantages of the city and the countryside.</i>" <br />
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<img src="http://e.fastcompany.net/multisite_files/fastcompany/imagecache/slideshow_large/slideshow/2014/03/3027279-slide-vincent-callebaut-flavours-orchard-designboom-03.jpg" width="400" /></div>
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Each of the huge, light-filled houses in the design is energy-efficient, and intended to produce more power than it consumes, thanks to renewable energy sources. </div>
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<img src="http://a.fastcompany.net/multisite_files/fastcompany/imagecache/slideshow_large/slideshow/2014/03/3027279-slide-vincent-callebaut-flavours-orchard-designboom-05.jpg" width="400" /></div>
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The houses will be hooked into an on-site smart grid, so extra power can be stored in fuel cells. </div>
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<img src="http://b.fastcompany.net/multisite_files/fastcompany/imagecache/slideshow_large/slideshow/2014/03/3027279-slide-vincent-callebaut-flavours-orchard-designboom-06.jpg" width="400" /></div>
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Electric cars and bikes in underground garages can also store electricity. </div>
<img src="http://www.fastcoexist.com/images/0.gif" /><br />
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<img src="http://c.fastcompany.net/multisite_files/fastcompany/imagecache/slideshow_large/slideshow/2014/03/3027279-slide-vincent-callebaut-flavours-orchard-designboom-07.jpg" width="400" /></div>
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Outside, the homes will be surrounded by a huge orchard and vegetable garden. </div>
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<img src="http://d.fastcompany.net/multisite_files/fastcompany/imagecache/slideshow_large/slideshow/2014/03/3027279-slide-vincent-callebaut-flavours-orchard-designboom-08.jpg" width="400" /></div>
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“<i>The objective is to repatriate the production of the organic agriculture in the heart of the city, center of its consumption.</i>" The garden is also intended to help neighbors meet each other as they grow food. </div>
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<img src="http://e.fastcompany.net/multisite_files/fastcompany/imagecache/slideshow_large/slideshow/2014/03/3027279-slide-vincent-callebaut-flavours-orchard-designboom-09.jpg" width="400" /></div>
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The neighborhood will have three different types of homes. The "Mobius Villa," designed in a loop, combines a vegetable garden on the roof with photovoltaic glass. Shutters in glass walls pivot to regulate heat and light. </div>
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<img src="http://c.fastcompany.net/multisite_files/fastcompany/imagecache/slideshow_large/slideshow/2014/03/3027279-slide-vincent-callebaut-flavours-orchard-designboom-10.jpg" width="400" /></div>
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The "Mountain Villa" uses panels filled with algae to produce bio-hydrogen. The "Shell Villa" is built around a wind turbine. </div>
<img src="http://www.fastcoexist.com/images/0.gif" /><br />
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<img src="http://f.fastcompany.net/multisite_files/fastcompany/imagecache/slideshow_large/slideshow/2014/03/3027279-slide-vincent-callebaut-flavours-orchard-designboom-04.jpg" width="400" /></div>
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The <b><a href="http://vincent.callebaut.org/page1-img-flavoursorchard.html" target="_blank">Flavours Orchard</a></b> project combines the advantages of the city and country as a way to slow down China's rural exodus. <br />
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Over the next 12 years, the Chinese government plans to move 250 million people from farms and villages to newly built cities. At the same time, some city dwellers are starting to escape back to the countryside, fed up with certain aspects of city life, like air pollution in Beijing that some scientists are now <b><a href="http://www.theguardian.com/world/2014/feb/25/china-toxic-air-pollution-nuclear-winter-scientists">comparing to nuclear winter</a></b>. A new development in Kunming hopes to offer a little of both urban and rural life: Sustainable buildings are built in the middle of a functioning farm. <br />
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The “<b><a href="http://vincent.callebaut.org/page1-img-flavoursorchard.html">Flavours Orchard</a></b>” project, designed by French architect <b><a href="http://vincent.callebaut.org/">Vincent Callebaut</a></b> near the city of Kunming in southwest China, will be built on 22 acres of former industrial wasteland. It’s a way for China to “slow down the massive rural exodus it suffers by the creation of new urban prototypes mixing all the advantages of the city and the countryside,” Callebaut writes on his website.</div>
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<img src="http://c.fastcompany.net/multisite_files/fastcompany/imagecache/inline-large/inline/2014/03/3027279-inline-vincent-callebaut-flavours-orchard-designboom-01.jpg" width="400" /></div>
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Each of the huge, light-filled houses in the design is energy-efficient, and intended to produce more power than it consumes, thanks to renewable sources like solar panels and geothermal heat exchangers. The houses will be hooked into an on-site smart grid, so extra power can be stored in fuel cells. Electric cars and bikes in underground garages can also store electricity. <br />
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<div style="text-align: center;">
<div style="text-align: justify;">
Outside, the homes will be surrounded by a huge orchard and vegetable garden. “The objective is to repatriate the production of the organic agriculture in the heart of the city, center of its consumption,” Callebaut writes. The garden is also intended to help neighbors meet each other as they grow food. "It’s an urban landscape open to everybody without fences between the villas, in favor of the neighborhood relationships and the intercultural and intergenerational social links," he writes.</div>
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<img src="http://e.fastcompany.net/multisite_files/fastcompany/imagecache/inline-large/inline/2014/03/3027279-inline-vincent-callebaut-flavours-orchard-designboom-03.jpg" width="400" /></div>
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The neighborhood will have three different types of homes, each with state-of-the-art sustainable features. The "Mobius Villa," designed in a loop, combines a vegetable garden on the roof with photovoltaic glass. Shutters in glass walls automatically pivot throughout the day to regulate heat and light. The "Mountain Villa" uses panels filled with algae to produce bio-hydrogen. The "Shell Villa" is built around a wind turbine. <br />
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We couldn't reach Callebaut to find out when, or even if, this development will break ground. But if it does get built, it could serve as a model for China's other new cities. <br />
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<b>ORIGINALS:</b> <b><a href="http://www.fastcoexist.com/3027279/a-chinese-eco-city-built-in-the-middle-of-a-farm">Fast Company</a></b></div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-86293002842348975392014-03-11T14:43:00.003-05:002014-03-11T14:43:37.594-05:00 D.O.R.T.H.E. <div style="font-size: medium; line-height: 1,5em; text-align: justify;">
<b>ORIGINAL:</b> <a href="http://vimeo.com/77693918" target="_blank"><b>D.O.R.T.H.E.</b></a></div>
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from <b><a href="http://vimeo.com/bitjuggler">Lasse Munk</a></b><br />
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<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="//player.vimeo.com/video/77693918?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br /></div>
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Meet <b>D.O.R.T.H.E.</b> She is currently 15”, pretty pale but an incredibly
warm and caring max/msp patch, that <span style="background-color: yellow; color: black;">creates music from your thoughts in
the form of written words and sentences</span>. She is amazingly well connected
speaking several languages with which she controls a number of
mechanical machines build almost entirely out of scrap electronics. She
sometimes get surprised how much really well-functioning stuff gets
thrown out every day, from several reasons - one being “<i>the new model
arrived</i>”. </div>
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One visit to the junkyard provided her with roughly $300
worth of DC and stepper-engines, plus additional heaps of little useful
things. <br />
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<b>D.O.R.T.H.E. reuses words</b>. She analyzes them, and use
them for music creation because she believes that words, sentences and
phonetics have many resemblances to music. <span style="background-color: yellow; color: black;">Both one to one mappings like
number of letters in a word translated to a pitch in music, but also
emotional states like joy, distress, happiness, discomfort and fear</span>. <br />
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D.O.R.T.H.E. is about re-cycling. Re-cycle words - turn them into music. Re-cycle electronics and turn them into instruments. <br />
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by <b>lasse munk and søren andreasen </b></div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-17161320945896212942014-03-05T15:31:00.002-05:002014-03-05T15:31:27.069-05:00Reflections on Chinese Contemporary Art: Ai Weiwei, Cao Fei, and Cai Guo-Qiang <div style="font-size: medium; line-height: 1,5em; text-align: justify;">
<b>ORIGINAL:</b> <b><a href="http://blog.art21.org/2014/03/05/reflections-on-chinese-contemporary-art-ai-weiwei-cao-fei-and-cai-guo-qiang/">Art21</a></b><br />
by Jonathan Munar<br />
Mar 5, 2014 <br />
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<img src="http://blog.art21.org/wp-content/uploads/2014/03/art21-tinari-artists-triptych-1024x523.jpg" height="204" width="400" /></div>
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From left: Artists Ai Weiwei, Cao Fei, and Cai Guo-Qiang. </div>
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For the occasion of Armory Focus: <b>China</b> at <b><a href="http://www.thearmoryshow.com/">The Armory Show</a></b> <b>2014</b> in New York City, Art21 produced four original films featuring <b>Philip Tinari</b>, director of <a href="http://ucca.org.cn/en/" target="_blank"><b>The Ullens Center for Contemporary Art</b></a> in <b>Beijing</b> and curator of <a href="http://www.thearmoryshow.com/exhibitors/focus_china.html" target="_blank"><b>Armory Focus: China</b></a>. In the films, Tinari reflects upon the current state of contemporary art in China, as highlighted through the work of four Chinese artists:<b> Ai Weiwei, Cao Fei, Cai Guo-Qiang, and Xu Zhen</b>, the commissioned artist for <b>The Armory Show 2014</b>. All four films will be screened to both fair-going and online audiences. Featured here are the first three films from the series. <br />
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When discussing each of the three artists previously featured by Art21—<b><a href="http://www.art21.org/artists/ai-weiwei">Ai Weiwei</a></b>, <b><a href="http://www.art21.org/artists/cao-fei">Cao Fei</a></b>, and <b><a href="http://www.art21.org/artists/cai-guo-qiang">Cai Guo-Qiang</a></b>—<span style="background-color: yellow; color: black;">Tinari identifies a common interest in the cultural identity of China and the Chinese population, along with its relationships both locally and globally. </span><br />
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In Ai, Tinari notes a <span style="background-color: yellow; color: black;">fascination with the effect of China’s productivity upon the lives of individuals</span>, as demonstrated through the artist’s frequent employment of local artisans for the creation of his works. Tinari also identifies Western artists <b>Marcel Duchamp</b> and<b> Andy Warhol</b> as key influences for Ai’s work as an artist. <br />
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<iframe allowfullscreen="" frameborder="0" height="225" src="//www.youtube.com/embed/tGiC19lppHs" width="400"></iframe>
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Watch <b><a href="http://www.art21.org/artists/ai-weiwei/videos">additional Art21 videos</a></b> featuring Ai Weiwei </div>
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In Cao, Tinari sees “<b><i>an example of how one can be a Chinese artist working in a global context.</i></b>” <span style="background-color: yellow; color: black;">Tinari cities the lengths of time that Cao spent with local factory workers</span>—from factories that produce goods for global consumption—as a representation of the artist’s interest of <i>“engaging with the wider world on her terms</i>.” <br />
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<iframe allowfullscreen="" frameborder="0" height="225" src="//www.youtube.com/embed/dM_WBqIhGMA" width="400"></iframe>
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Watch <b><a href="http://www.art21.org/artists/cao-fei/videos">additional Art21 videos</a></b> featuring Cao Fei </div>
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Of Cai, Tinari mentions the <span style="background-color: yellow; color: black;">artist’s signature work with gunpowder</span>, describing the material as something that “<i>speaks to the ingenuity of the Chinese people.</i>” Tinari <span style="background-color: yellow; color: black;">explores the on-going influence of the artist’s travels to—and current residence in—the West, and its relationship to his own Chinese identity. </span><br />
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<iframe allowfullscreen="" frameborder="0" height="225" src="//www.youtube.com/embed/ycwpI3s71eQ" width="400"></iframe>
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Watch <b><a href="http://www.art21.org/artists/cao-fei/videos">additional Art21 videos</a></b> featuring Cai Guo-Qiang </div>
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The above videos are meant to serve as companion pieces to each artist’s original appearance in Art21’s Art in the <b>Twenty-First Century</b> series. These videos, in addition to additional videos from <b>Art21’s Exclusive</b> and <b>Artist to Artist</b> series, can be viewed from the artists’ sections on <b><a href="http://www.art21.org/artists">Art21.org</a></b>. <br />
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Philip Tinari first partnered with Art21 in 2009, interviewing Cao Fei in Beijing for <b>Season 5</b> (2009) of the Art in the Twenty-First Century series. Tinari would again partner with Art21 to interview artist Ai Weiwei in Beijing for <b>Season 6 (2012)</b>. <br />
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Armory Focus is a specially curated section of <b>The Armory Show</b> that highlights the artistic landscape of a chosen geographic region. For <b>The Armory Show 2014</b>, Tinari curated Armory Focus: China, shining new light on the country’s contemporary cultural practice. Armory Focus: China is on view at The Armory Show in New York from March 6–9, 2014. <br />
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<b>VIDEO CREDITS</b> | Producer: Eve Moros Ortega. Interview: Eve Moros Ortega. Camera: Rafael Salazar. Sound: Ava Wiland. Editor: Morgan Riles. Artwork Courtesy: Ai Weiwei, Cao Fei, and Cai Guo-Qiang. Archival Images Courtesy: Ai Weiwei and AW Asia. Thanks: Philip Tinari, The Armory Show, Christopher Mao, John Tancock, Chambers Fine Art, Taliesin Thomas, Larry Warsh, and Lombard Freid Gallery. Theme Music: Peter Foley. © Art21, Inc. 2014. All rights reserved. <br />
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<b><a href="http://blog.art21.org/author/jonathan-munar/"> Jonathan Munar</a></b><br />
Contributor <br />
<b><a href="http://blog.art21.org/author/jonathan-munar/"> Go to articles </a></b> Jonathan Munar is the Director of Digital Media and Strategy at Art21, overseeing the organization's overall digital, Web, and social media presences. He edits and contributes to Art21's "Art 2.1" column. </div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-52897602427617405172014-02-11T14:14:00.000-05:002014-02-11T14:29:30.992-05:00Blooming marvellous! Pretty flowers that open up before your eyes are the world's first ever INFLATABLE 3D printed objectsRichard Clarkson created the design as part of his seamless blossom project<br />
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<b>Flowers open as air is pumped into chambers, revealing a colourful core</b><br />
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They were produced using <span style="background-color: yellow; color: black;"><b>Objet’s 3D printer</b> which is able to simultaneously print a mix of both a flexible and rigid material</span><br />
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As remarkable as 3D printing is, most objects created using the technique have, up until now, been limited to rigid structures. <br />
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But this could be about to change with <span style="background-color: yellow; color: black;"><b>a new generation of materials</b> that are allowing designers to create morphing 3D designs. </span><br />
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<b>Richard Clarkson</b> from <b>Victoria University</b> of <b>Wellington</b> has become one of the first to<span style="background-color: yellow; color: black;"> make use of multi-material 3D printing by creating inflatable rubber-like flowers.</span><br />
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<img src="http://i.dailymail.co.uk/i/pix/2014/01/24/blossom3d.gif" width="400" /></div>
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<b>MULTI-MATERIAL 3D PRINTING</b><br />
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As well as creating beautiful <b>art installations</b>,<span style="background-color: yellow; color: black;"> multi-material 3D printing aims<b> reduce the number of manufacturing steps for one object</b>. </span><br />
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it allows, for instance a working product to be created with different properties without the need to bring together separate components.<br />
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Experts claim<span style="background-color: yellow; color: black;"> it increases speed to market by allowing organisations to prototype increasingly complex parts</span>. It also reduces waste products by using exactly the right amount of material required. <br />
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The flowers, created as part of the ‘<b>seamless blossom project</b>’, open up as air is pumped into inner chambers, revealing a colourful inner core.</div>
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Mr Clarkson claims they are the first ever inflatable objects to be created with 3D printing.<br />
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‘<i>Basically, it’s a curved hollow chamber with flexible rubber. As you inflate it, it creates a gap of air that pushes against the inner layer, forcing the outer layers open. It almost blooms, like a flower,</i>’ he said. <br />
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Recent advances in 3D printing now allow the simultaneous layering of different build materials in a single print</div>
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Incredible inflatable 3D printing technology shows flowers...<br />
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<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="//player.vimeo.com/video/84466106?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe>
Seamless Blossom - Richard Clarkson (video)<br />
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<img src="http://i.dailymail.co.uk/i/pix/2014/01/24/article-2545441-1AEED8D400000578-174_634x396.jpg" width="400" /></div>
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A screenshot from the computer aided design (CAD) programme Richard Clarkson used to create the flowers </div>
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The flowers were created using Objet’s multi-material printer which is able to simultaneously print a mix of both a flexible and rigid material at point of print.<br />
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<span style="background-color: yellow; color: black;">Mr Clarkson has designed his project as an interactive installation without any electronics, sensors or computer control, working <b>only on air pressure.</b></span><br />
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It is the first in what experts are predicting could be <span style="background-color: yellow; color: black;">a wave of 3D printed objects that use different materials to morph shape.</span><br />
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Last year, for instance, <span style="background-color: yellow; color: black;">U.S. architect <b>Skylar Tibbits</b> announced a project to develop morphing materials in collaboration with Minneapolis-based group Stratasys</span><br />
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<img src="http://i.dailymail.co.uk/i/pix/2014/01/24/article-2545441-1AEED8C400000578-992_634x422.jpg" width="400" /></div>
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Mr Clarkson has designed his project as an interactive installation without any electronics, sensors or computer control, working only on air pressure</div>
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<img src="http://i.dailymail.co.uk/i/pix/2014/01/24/article-2545441-1AEED8DC00000578-823_634x421.jpg" width="400" /></div>
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The flowers, created as part of the 'seamless blossom project' open up as air is pumped into inner chambers, revealing a colourful inner core </div>
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<span style="background-color: yellow; color: black;">Mr Tibbits has now set up a radical lab at the <b>Massachusetts Institute of Technology (MIT)</b> to create materials that self-assemble.</span><br />
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Like Mr Clarkson, the MIT lab plans to use of multi-material 3D printing to programme different properties into various parts of a product’s geometry. <br />
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The idea is tha<span style="background-color: yellow; color: black;">t these parts will have <b>varying water-absorbing characteristics</b> that activate a change in shape when they come into contact with moisture</span>.<br />
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Te technique could lead to structures such as <span style="background-color: yellow; color: black;">self-assembling furniture, or water pipes that know when to expand and contract.</span><br />
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<img src="http://i.dailymail.co.uk/i/pix/2014/01/24/article-2545441-1AEED71400000578-241_634x416.jpg" width="400" /></div>
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Mr Clarkson claims these flowers are the first ever inflatable objects to be created using 3D printing</div>
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<img src="http://i.dailymail.co.uk/i/pix/2014/01/24/article-2545441-1AEED86500000578-950_634x396.jpg" width="400" /></div>
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The technique could lead to structures such as self-assembling furniture, or water pipes that know when to expand and contract </div>
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<b>ORIGINAL: </b><b><a href="http://www.dailymail.co.uk/sciencetech/article-2545441/Blooming-marvellous-Stunning-flowers-open-eyes-worlds-INFLATABLE-3D-printed-objects.html">Daily Mail</a></b></div>
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By <b><a href="http://www.dailymail.co.uk/home/search.html?s=&authornamef=Ellie+Zolfagharifard">Ellie Zolfagharifard</a></b><br />
24 January 2014</div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-68248103960922627692014-01-29T13:08:00.000-05:002014-01-29T13:08:02.916-05:00These 21 Pictures Are Not What You Think. They Will Blow Your Mind.<div style="font-size: medium; line-height: 1.5em; text-align: justify;">
<b>ORIGINAL:</b> <b><a href="http://www.viralnova.com/realistic-paintings/">Viralnova</a></b><br />
January 28, 2014</div>
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Some paintings seem SO real, you can’t believe someone was talented enough to create them. Then, some paintings seem SO real you can’t even tell they are paintings. <span style="background-color: yellow;color:black;">Below are 21 of the most amazing works of art you won’t be able to tell are 100% handmade and NOT photographs</span>. These artists are so talented, they’ll leave your jaw on the floor. <br />
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<b>1. Omar Ortiz – using oil on linen </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent.jpg" height="306" width="400" /></a></b></div>
<b><a href="http://omarortiz.wordpress.com/">Omar Ortiz</a></b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent2.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent2.jpg" height="278" width="400" /></a></b></div>
<b><a href="http://omarortiz.wordpress.com/">Omar Ortiz</a></b><br />
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<b>2. Paul Cadden – pencil and paper </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent3.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent3.jpg" height="400" width="266" /></a></b></div>
Paul Cadden <br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent4.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent4.jpg" height="325" width="400" /></a></b></div>
Paul Cadden <br />
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<b> 3. Kamalky Laureano – acrylic paint on canvas </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent5.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent5.jpg" height="324" width="400" /></a></b></div>
<b><a href="http://kamalkylaureano.carbonmade.com/">Kamalky Laureano</a></b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent6.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent6.jpg" height="298" width="400" /></a></b></div>
<b><a href="http://kamalkylaureano.carbonmade.com/">Kamalky Laureano</a></b><br />
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<b>4. Gregory Thielker – oil on canvas </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent7.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent7.jpg" height="302" width="400" /></a></b></div>
<b><a href="http://www.gregorythielker.com/">Gregory Thielker</a></b><br />
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<b>5. Lee Price – oil on linen </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent8.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent8.jpg" height="282" width="400" /></a></b></div>
<b><a href="http://www.leepricestudio.com/painting04.html">Lee Price</a></b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/paintings.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/paintings.jpg" height="287" width="400" /></a></b></div>
<b><a href="http://www.leepricestudio.com/painting04.html">Lee Price</a></b><br />
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<b>6. Ben Weiner – paintings of paint </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent9.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent9.jpg" height="241" width="400" /></a></b></div>
<b><a href="http://benweiner.com/">Ben Weiner</a></b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/paintings-of-paint.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/paintings-of-paint.jpg" height="211" width="400" /></a></b></div>
<b><a href="http://benweiner.com/">Ben Weiner</a></b><br />
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<b>7. Ron Mueck – hyper realistic human sculptures </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent10.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent10.jpg" height="266" width="400" /></a></b></div>
<b><a href="https://www.facebook.com/pages/Ron-Mueck/22193729909">Ron Mueck</a></b><br />
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<b>8. Kim Ji-hoon – pencil </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent11.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent11.jpg" height="400" width="270" /></a></b></div>
<b><a href="http://sharppower.deviantart.com/">Kim Ji-Hoon</a></b><br />
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<b>9. Ray Hare – acrylic paint on canvas </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent12.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent12.jpg" height="399" width="400" /></a></b></div>
<b><a href="http://www.rayhare.com/animal-series.html">Ray Hare</a></b><br />
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<b>10. Pedro Campos – oil on canvas </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent13.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent13.jpg" height="399" width="400" /></a></b></div>
<b><a href="http://www.pedrocampos.net/">Pedro Campos</a></b><br />
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<b>11. Dirk Dzimirsky – pencil on paper </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent14.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent14.jpg" height="312" width="400" /></a></b></div>
<b><a href="http://www.dzimirsky.com/index.html">Dirk Dzirmirsky</a></b><br />
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<b>12. Thomas Arvid – Giclée on canvas </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent15.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent15.jpg" height="400" width="400" /></a></b></div>
<b><a href="http://www.thomasarvid.com/">Thomas Arvid</a></b><br />
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<b>13. Samuel Silva – ballpoint pen </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent16.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent16.jpg" height="394" width="400" /></a></b></div>
<b><a href="http://vianaarts.deviantart.com/">Samuel Silva</a></b><br />
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<b>14. Gottfried Helnwein – oil and acrylic on canvas </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent17.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent17.jpg" height="270" width="400" /></a></b></div>
<b><a href="http://www.helnwein.com/werke/leinwand/bild_3468.html">Gottfried Heinwein</a></b><br />
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<b>15. Mike Bayne – oil on wood panel </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent18.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent18.jpg" height="400" width="287" /></a></b></div>
<b><a href="http://www.mikebayne.com/">Mike Bayne</a></b><br />
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<b>16. Robert Longo – charcoal on mounted paper </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent19.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent19.jpg" height="400" width="298" /></a></b></div>
<b><a href="http://www.robertlongo.com/">Robert Longo</a></b><br />
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<b>17. Diego Fazio – charcoal pencil </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent20.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent20.jpg" height="400" width="336" /></a></b></div>
<b><a href="http://diegokoi.deviantart.com/">Diego Fazio</a></b><br />
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<b>18. Bryan Drury – oil on wood </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent21.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/crazy-talent21.jpg" height="400" width="265" /></a></b></div>
<b><a href="http://deanproject.com/bryan_drury.html">Bryan Drury</a></b><br />
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<b>19. Rafal Bujnowski – black and white photo-realistic portrait</b> (so realistic that a picture of it was accepted for his passport) <br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/passport-painting.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/passport-painting.jpg" height="265" width="400" /></a></b></div>
<b><a href="http://www.raster.art.pl/gallery/artists/bujnowski/prace.htm">Rafal Bujnowski</a></b><br />
<b><br /> 20. Robin Eley – oil on Belgian linen </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/oil-on-linen.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/oil-on-linen.jpg" height="400" width="300" /></a></b></div>
<b><a href="http://www.robineley.com/">Robin Eley</a></b><br />
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<b> 21. Kevin Okafor – graphite pencils on paper </b><br />
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<b><a href="http://cdn.viralnova.com/wp-content/uploads/2013/06/amy-winehouse-grphite.jpg"><img src="http://cdn.viralnova.com/wp-content/uploads/2013/06/amy-winehouse-grphite.jpg" height="272" width="400" /></a></b></div>
<b><a href="http://www.flickr.com/photos/kelvinokaforart/with/5904291207/">Kevin Okafor</a></b></div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-73082845156856360802014-01-20T17:51:00.001-05:002014-01-20T17:51:52.819-05:00Emptied Gestures: Physical Movement Translated into Symmetrical Charcoal Drawings <div style="text-align: justify;font-size:medium;line-height:1.5em;">
<b>ORIGINAL:</b> <b><a href="http://www.thisiscolossal.com/2014/01/emptied-gestures-heather-hansen/">This is Colossal</a></b></div>
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by Heather Hansen</div>
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January 20, 2014 <br />
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<img src="http://www.thisiscolossal.com/wp-content/uploads/2014/01/heather-1.jpg" height="266" width="400" /></div>
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Photo by Bryan Tarnowski </div>
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<img src="http://www.thisiscolossal.com/wp-content/uploads/2014/01/heather-2.jpg" height="266" width="400" /></div>
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Photo by Bryan Tarnowski </div>
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<img src="http://www.thisiscolossal.com/wp-content/uploads/2014/01/heather-3.jpg" height="266" width="400" /></div>
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Photo by Bryan Tarnowski </div>
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<img src="http://www.thisiscolossal.com/wp-content/uploads/2014/01/heather-4.jpg" height="266" width="400" /></div>
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Photo by Bryan Tarnowski </div>
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<img src="http://www.thisiscolossal.com/wp-content/uploads/2014/01/heather-5.jpg" height="266" width="400" /></div>
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Photo by Bryan Tarnowski </div>
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Photo by Bryan Tarnowski </div>
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Photo by Bryan Tarnowski </div>
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Photo by Bryan Tarnowski </div>
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Photo by Spencer Hansen at Ochi Gallery </div>
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Photo by Spencer Hansen at Ochi Gallery </div>
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Photo by Spencer Hansen at Ochi Gallery </div>
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Photo by Spencer Hansen at Ochi Gallery </div>
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<br /><iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="//player.vimeo.com/video/75185969?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe>
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Splayed across a giant paper canvas with pieces of charcoal firmly grasped in each hand, <b><a href="http://heatherhansen.net/">Heather Hansen</a></b> begins a grueling physical routine atop a sizeable paper canvas. <span style="background-color: yellow;color: black;">Her body contorts into carefully choreographed gestures as her writing implements grate across the floor, the long trails resulting in a permanent recording of her physical movements</span>. <b>Part dance and part performance art</b>, the <b>kinetic drawings</b> are a way for Hansen to merge her love for visual art and dance into a unified artform. The final symmetrical patterns that emerge in each pieces are reminiscent of a Rorschach test, or perhaps cycles found in nature. <br />
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Hansen most recently had a group exhibition, <b><a href="http://www.ochigallery.com/heather-hansen/">The Value of a Line</a></b>, at <b><a href="http://www.ochigallery.com/">Ochi Gallery</a></b> in <b>Ketchum</b>, Idaho which runs through March 31, 2014. All photography above courtesy the artist by <b><a href="http://spencerhansen.net/">Spencer Hansen</a></b> and <b><a href="http://bryantarnowski.com/">Bryan Tarnowski</a></b>. If you liked this also check out the work of <b><a href="http://www.thisiscolossal.com/2010/11/tony-orrico-penwald-drawings/">Tony Orrico</a></b>. (via <b><a href="http://www.ignant.de/2013/09/30/emptied-gestures/">iGNANT</a></b>, <b><a href="http://www.mymodernmet.com/profiles/blogs/heather-hansen-the-value-of-a-line">My Modern Met</a></b>)</div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-26712343867909281482014-01-18T23:40:00.001-05:002014-01-18T23:40:59.071-05:00 It May Look Like a Normal Stack of Wood, But When You Get Closer…WOW!<div style="font-size: medium; line-height: 1.5em; text-align: justify;">
<b>ORIGINAL:</b> <b><a href="http://www.realfarmacy.com/it-may-look-like-a-normal-stack-of-wood-but-when-you-get-closer-wow/">Real Farmacy</a></b></div>
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Jan 14, 2014</div>
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From a distance, it appears to be an ordinary stack of firewood, but as you get closer, you begin to realize that this is way cooler than a stack of logs.</div>
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<b><a href="http://www.realfarmacy.com/wp-content/uploads/2014/01/log-house.jpg"><img src="http://www.realfarmacy.com/wp-content/uploads/2014/01/log-house.jpg" width="400" /></a></b></div>
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Upon further inspection you notice that the black lines are actually seams.</div>
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And they open! What is this thing?</div>
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Holy smokes! They’re the windows of a perfectly camouflaged cabin!</div>
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What an amazing creative way to hide out in luxury, surrounded by nature!</div>
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The man below is Hans Liberg, a Dutch performer.</div>
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He’s able to blend in with the scenery when he’s deep in a composition.</div>
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This fantastic creation was built on a trailer by Piet Hein Eek who was even more excited than Hans.</div>
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The outside is indeed real wood.</div>
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<b><a href="http://www.realfarmacy.com/wp-content/uploads/2014/01/log-house9.jpg"><img src="http://www.realfarmacy.com/wp-content/uploads/2014/01/log-house9.jpg" width="400" /></a></b></div>
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The one-of-a-kind window designs are made of steel and plastic.</div>
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The interior is quite roomy despite being contained in a stack of wood.</div>
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Windows on all four sides flood the quarters with natural light.</div>
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It’s perfect to rock out in.</div>
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What more does a musician need than a remote cabin and a guitar?</div>
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<span style="line-height: 1.5em;">The illuminated wood stack at dusk makes for a fantastic photograph, to say the least.</span></div>
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Hans is as happy as can be. Wouldn’t you be too?</div>
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<b><a href="http://thomasmayerarchive.de/categories.php?cat_id=2460&l=english"><img src="http://thomasmayerarchive.de/images/2460/Film-vorbereitet/gif/Film-vorbereitet,Architecture,architects,Eek,-Piet-Hein,log-house-study-on-wheels,-Hans-Liberg,Film-vorbereitet.gif" width="400" /></a></b></div>
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Source: <b><a href="http://thomasmayerarchive.de/index.php?sessionid=c5f0d1292bbd93f3053961d2837046ca&l=english">Thomas Mayer Archive</a></b></div>
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Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-37206742928039532422014-01-13T15:24:00.000-05:002014-01-13T15:24:54.063-05:00Andy Lomas Lets Digital Systems Bloom In "Morphogenetic Creations" Exhibit<div style="font-size: medium; line-height: 1.5em; text-align: justify;">
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<b>ORIGINAL:</b> <b><a href="http://thecreatorsproject.vice.com/blog/andy-lomas-lets-digital-systems-bloom-in-morphogenetic-creations-exhibit">The Creators Project</a></b></div>
By DJ Pangburn <br />
Jan 10 2014 <br />
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<b> Andy Lomas</b>, a digital artist and mathematician, likes to let the virtual world spin out of control. Using software code to creates very basic rules, Lomas then sits back and watches his digital “<b>growth systems</b>” bloom, fractalize, shape-shift, and otherwise behave in organic and emergent ways. <br />
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Yesterday, at the <b><a href="http://www.lacda.com/">Los Angeles Center for Digital Arts</a></b> (LACDA), Lomas’s <b><a href="http://www.lacda.com/exhibits/ANDY_LOMAS.html">Morphogenetic Creations</a></b> opened, giving digital art enthusiasts the opportunity to see his dynamic virtual systems up close. <span style="background-color: yellow; color: black;">The exhibit includes work from the<b> Aggregation, Flow, and Cellular Forms</b> series</span>. To coincide with the exhibit, Lomas uploaded a view of these digital growth videos to <b><a href="https://vimeo.com/andylomas">Vimeo</a></b>. Startlingly beautiful to behold, they’re a bit like<b> Ernst Haeckel</b>’s Art Forms of Nature animated with a cyberpunk edge. <br />
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I recently rang up Lomas, who lives in the <b>United Kingdom</b>, to talk about <b>Morphogenetic Creations</b>. We talked about his background in mathematics, his early fascination with <b>D’Arcy Wentworth Thompson’s On Growth and Form</b>, and how his work as a computer-generated effects artist for film <b>(The Matrix</b> sequels and <b>Avatar</b>), where highly-predictable outcomes and stability predominate, served as a springboard for the more random digital forms he now creates. <br />
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<b>The Creators Project: What can people expect to see at the Morphogenetic Creations exhibit at LACDA? </b><br />
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Andy Lomas: There will be four animation pieces from the Cellular Forms series in the windows, but also then some 44x44-inch big prints of new and old work. They’re ridiculously high-resolution at 12,000x12,000 pixels. <br />
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Another thing I have at LACDA for the Aggregation series are picture frames with these old, Victorian-style stereo viewers to create a 3D effect. The frame only contains two pictures, but through the stereo viewer it really looks like this three-dimensional thing. I believe they’re going to pull those out for this exhibit as well. <br />
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<b>Is Cellular Forms the most recent series? </b><br />
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The two Cellular Forms videos are the most recent. They’re almost exactly the same date because they’re basically differently rendered versions of the same thing. That would be<b> Cellular Forms</b> and <b>Cellular Forms (X-Ray version)</b>. <br />
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What I quite like is the idea that there are two things: the creation of these three-dimensional data structures, where the goal is to create the most organic things possible with very simple rules; and that there is no one correct way of doing that. One shows you everything solid, while the other gives you an x-ray that reveals what’s actually going on inside. Neither is the original, if you like. They’re just different views into the data. <br />
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<b>And you wrote the software code for this series? </b><br />
Yeah, <span style="background-color: yellow; color: black;">I wrote the software for Cellular Forms. I’m a code junky. I write it for my own pleasure</span>. There are two main parts to the code.<b> </b><br />
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<li><b>One is what I call the simulation engin</b>e, which is the thing that is actually almost like running a growth process. It starts with a sphere or ball of cells, with rules for how they divide and have forces between them, how it moves, changes shape, and grows over time. <b> </b></li>
<li><b>Then there is the rendering stage</b>, which takes the data produced by that simulation and turns it into something you can see. It produces pixel data out of cell data, if you like. </li>
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<b>Did you use this code in your film work, or did you build it on the side for this specific purpose? </b><br />
It’s completely built on the side. It’s very much a labor of love. When I worked on The Matrix sequels for this company I was working with then, another person there used a much simpler version of what’s called Diffusion Limited Aggregation for some of the effects work. It was used for when Agent Smith was turning other people into other Smith’s with these tendril things. DLA inspired the code I wrote. <br />
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When you’re doing things for films, you have to construct things in a very different way—you have to make things very controllable and directable. Whatever you do, when the director or visual effects supervisor looks at it and says, “That’s great, but can you change this and modify that,” that is what you spend most of your time doing. One of the things I like about my own work is that it is trying to be almost exactly the opposite. You’re hoping for the things which are unexpected. <br />
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It’s almost like growing plants; you don’t know exactly how a plant is going to grow. But, you start to learn that if you cross-breed that with that, then it might do something interesting. Maybe nine of the plants end up really uninteresting, but one does something really interesting and maybe different than what you thought it would. People talk about emergence, where things emerge that you didn’t expect, which you almost can’t use in professional production. <br />
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<b>Do you prefer the lack of control that your solo work affords you? </b><br />
I’ve got to say that I prefer the lack of control. As soon as things become digital, people think that they can control everything. When you get to a certain level of complexity, you can explore it more than control it. I prefer the things where 99% of the time it doesn’t produce anything interesting, but that 1% of the time is like, “Wow, that’s really cool.” I’m not a control freak director. I actually want the work to surprise me instead of do exactly what I thought it was going to do. <br />
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<b>What specifically might have influenced Cellular Forms and your other series? </b><br />
I’ve always been fascinated by sculpture and form. I also used to scuba dive and look at coral. To my mind, organic things go from really hideous to incredibly beautiful, whereas most engineered things go from ugly to something quite interesting. In organic forms, there is a very visceral reaction. Trees look beautiful and mold looks ugly, and things like that. <br />
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<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="//player.vimeo.com/video/83297099?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br /></div>
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My original background is in mathematics, which I studied as an undergraduate. One of the main areas I got interested in is what’s called Dynamical Systems, which is sort of the math behind Chaos Theory and Complexity Theory—the math of how things change over time when you almost reapply the same rule again and again and again. So, the combination of those two, it’s almost like how simple could the rules be to make something that is as beautiful as a tree or coral or something like that. So, those two have always been like two germs working together. And, to my mind, computers are the things that allow you to actually try that out. <br />
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<div style="text-align: center;">
<img src="http://assets2.thecreatorsproject.com/content-images/contentimage/no-slug/ec03eb1cd54d7538f7407ae2c1d0b2c8.jpg" width="400" /></div>
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<b>Any other critical influences in your work? </b><br />
There was a Scottish mathematician named <b>D’Arcy Wenthworth Thompson</b>, who wrote a book about a hundred years ago now called <b>On Growth and Form</b>, which is basically him talking about the constraints of the real world. When you think about how things grow, are the sorts of forms that you see in the real world just the results of almost the only things that can grow? With a computer we can actually test that. Often, it doesn’t work quite how you expected. <br />
<br />
For more of Lomas' work, head over to his <b><a href="http://www.andylomas.com/">website here</a></b>. <br />
<br />
<b><a href="https://twitter.com/djpangburn">@djpangburn</a></b></div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-61284036752296376912013-12-29T12:50:00.000-05:002013-12-29T12:50:16.308-05:00Impossible art: Mind-bending, 3-D printed masterpieces <div style="font-size: medium; line-height: 1.5em; text-align: justify;">
<b>ORIGINAL:</b> <b><a href="http://edition.cnn.com/2013/12/18/world/impossible-art-mind-bending-3-d-printed-masterpieces/">CNN</a></b><br />
By <b><a href="http://twitter.com/willyleeadams">William Lee Adams</a></b>, for CNN <br />
December 18, 2013</div>
<div style="font-size: medium; line-height: 1.5em; text-align: justify;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="225" src="http://i2.cdn.turner.com/cnn/dam/assets/131213143239-3d-printing-art-fashion-5-horizontal-gallery.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">3-D printers deposit material layer by layer to create a solid object, as in this dramatic headpiece by <b><a href="http://www.joshharker.com/">Joshua Harker</a></b>.
In the past each of the elements would have been crafted separately and
then pieced together. 3-D printing simplifies the process and prints
the work in one go. </span></td></tr>
</tbody></table>
<br />
<b>STORY HIGHLIGHTS </b><br />
<ul>
<li>3-D printing is opening new avenues for artists</li>
<li>The Van Gogh Museum is printing 3-D replicas of iconic paintings</li>
<li>Even Victoria's Secret has embraced the technology </li>
</ul>
<br />
(CNN) -- Thanks to 3-D printers, dentists can today print false teeth and medical device manufacturers can print hip replacements. <br />
<br />
Such creations are useful, but not exactly sexy. <span style="background-color: yellow;color:black;">Thankfully, artists are demonstrating another dimension of the technology, printing remarkable creations that wouldn't have been possible even a decade ago. </span><br />
<br />
Take <b>Tobias Klein</b>. The German artist wanted to meld the architecture of <b>St. Paul's Cathedral</b> with representations of his own body. <br />
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Approximating the shape and dimensions of your own heart is a challenge, but Klein did not have to guess. He underwent a series of MRI scans, and then, with a few clicks of the mouse, was able to view his own heart in 3-D. <br />
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<tr><td style="text-align: center;"><img border="0" src="http://i2.cdn.turner.com/cnn/dam/assets/131127163959-spc-make-create-innovate-inform-3d-display-00011527-story-body.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">'3D' display lets you touch real world </span></td></tr>
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<tr><td style="text-align: center;"><img border="0" src="http://i2.cdn.turner.com/cnn/dam/assets/131213120536-spc-talk-asia-anya-hindmarch-c-00004421-story-body.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Handbag designer pushes the envelope </span></td></tr>
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<tr><td style="text-align: center;"><img border="0" src="http://i2.cdn.turner.com/cnn/dam/assets/130501202854-erin-foreman-facial-recognition-woes-00014612-story-body.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Facial recognition failed in Boston </span></td></tr>
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He then merged that with a representation of the dome of St. Paul's and sent the design to a 3-D printer, which deposited material layer by layer to create a solid object. <br />
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The result was '<b>Inversive Embodiment,</b>' a twisting, mind-boggling sculpture that links man-made architecture with the architecture of a man. <br />
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"<i>It allows me to move into more eccentric areas,</i>" Klein says. "<i>We see a super beautiful influx of people working with the medium. We're just seeing how far this can go.</i>" <br />
<br />
<b><a href="http://edition.cnn.com/TECH/specials/make-create-innovate/3d-printing/">Read: Dawn of a new revolution: How 3-D printing will change the world</a></b><br />
<br />
<b>New possibilities </b><br />
According to<b> Wohlers Associates</b>, a manufacturing research firm, the market for 3-D printing topped $2 billion in 2012, up nearly 30% from the year before. And <span style="background-color: yellow;color:black;">while most of the cash comes from manufacturing companies, <b>artists are throwing ever more dollars at 3-D printers and related technologies</b>. </span><br />
<br />
<span style="background-color: yellow;color:black;">The desire to innovate is driving the trend</span>, as are falling prices and the increased availability of 3-D printers. <br />
<br />
Suzy Antoniw organized "<b>3D: Printing the Future</b>", an exhibition running at <a href="http://www.sciencemuseum.org.uk/" target="_blank"><b>London's Science Museum</b></a> until June 15. <br />
<br />
"<i>Although 3-D printing as a technology isn't that new, there has been an explosion of creativity around it in recent years,</i>" she says. "<i>It gives artists more design freedom and enables them to create amazing things.</i>" <br />
<br />
<b><a href="http://bernatcuni.com/">Bernat Cuni</a></b>, one of the artists featured in the exhibition, takes children's drawings and, using computer aided software, blows the images up like balloons. A 3-D printer then produces these so-called '<b>crayon creatures</b>,' turning scribbles into mini sculptures. <br />
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<tr><td style="text-align: center;"><img border="0" src="http://i2.cdn.turner.com/cnn/dam/assets/131218143323-milena-3d-file-of-horse-entertain-feature.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">The Horse Marionette, made by 3D printing. Courtesy Michaella Janse van Vuuren </span></td></tr>
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<b><a href="http://nomili.co.za/">Michaela Janse van Vuuren</a></b>,<span style="background-color: yellow;color:black;"> an artist and former puppet maker, focuses on designs that can only be made using 3D printing. </span><br />
<br />
Her white horse marionette includes an elaborate set of wings made of countless interlocking parts, all printed in one go. That means there is no assembly required and the piece is ready for sale immediately. <br />
<br />
"<i><span style="background-color: yellow;color:black;">There is absolutely no way you can make this design using traditional manufacturing or handcraft methods</span>,</i>" she says. <br />
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<b>Fashion has benefited as well. </b><i>It allows me to move into more eccentric areas,</i>" Klein says. "<i>We see a super beautiful influx of people working with the medium. We're just seeing how far this can go.</i>" <br />
<b>Tobias Klein</b>, artist <br />
<br />
For the <b>Victoria's Secret Fashion Show</b> in September, the lingerie giant wanted model <b>Lindsay Ellingson</b> to have spectacular wings that captured the intricacy of snowflakes. <br />
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Designer <b><a href="http://bradleyrothenberg.com/">Bradley Rothenberg</a></b> relied on a 3-D printing process called <b>Selective Laser Sintering</b> that can fabricate complex interlocking support without additional support materials. 3-D printing also ensured a snug fit. <br />
<br />
"<i>We actually scanned the model and then wrote code that generated the snowflakes around the 3D mesh of Lindsay's body</i>." <br />
<br />
<b><a href="http://www.cnn.com/2013/11/08/tech/innovation/3d-printed-metal-gun/">Read: Texas company makes metal gun with 3-D printer</a></b><br />
<b><br />Financial incentive </b><br />
<span style="background-color: yellow;color:black;">For artists who live outside of the world's major art markets, 3-D printing helps them access customers further afield. </span><br />
<b><br />Janse Van Vuuren</b>, who is based in <b>South Africa</b>, says it can be costly to reach new markets and to travel to meet potential clients. <br />
<br />
"<i>3-D printing removes many of these barriers and has the potential to level the playing field,</i>" she says. "<i>My designs can be printed at a location close to the buyer and many online repositories exist where buyers can choose products.</i>" <br />
<br />
Museums see commercial promise in new printing techniques as well. <br />
<br />
Amsterdam's <b><a href="http://www.vangoghmuseum.nl/vgm/index.jsp?page=425&lang=en&section=sectie_museum&gclid=COjDu6nhubsCFWfkwgodmWYABw">Van Gogh Museum</a></b>, which holds the world's largest collection of paintings by the Dutch artist, has <span style="background-color: yellow;color:black;">teamed up with Fujifilm to create 3-D replicas of five Van Goghs, including the iconic "<b>Sunflowers</b>" and "<b>Almond Blossom</b>."</span> <br />
<br />
Fujifilm scanned the works and then printed 260 replicas of each—a process that takes three months. <br />
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<tr><td style="text-align: center;"><img border="0" src="http://i2.cdn.turner.com/cnn/dam/assets/131213183707-3d-1-bloesem-entertain-feature.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Vincent van Gogh's Almond Blossoms. Courtesy Van Gogh Museum Amsterdam </span></td></tr>
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<span style="background-color: yellow;color:black;">Known as "<b>Relievos</b>", the copies capture not only the colors—there are 32 shades of yellow in "<b>Sunflowers</b>"—but also the particulars of Van Gogh's brushstrokes, including height and direction. </span><br />
<br />
They also include the frame and the backside of each painting, which have stickers and other markers of where the paintings have traveled. <br />
<br />
"<i>This way people can see the history of the painting</i>," says <b>Milou Halbesma</b>, the head of public affairs at the museum. "<i>A painting travels around the world. People can see it was in exhibitions at the Moma and other museums.</i>" <br />
<br />
The Relievos sell for €25,000 each, about $34,000, and will help the museum pay for essential renovations. Previous sales in Hong Kong and Taiwan were a huge success, so the museum has launched similar sales in Belgium and the Netherlands. It will take its works to Los Angeles in the new year. <br />
<br />
<b><a href="http://money.cnn.com/2013/12/10/technology/victorias-secret-3d/">Read: Victoria's Secret model wears 3-D printed wings</a></b><br />
<b><br />Baby steps </b><br />
Critics of 3-D art reproductions like to point how much they vary from the original. <br />
<br />
But <b>Joris Dik</b>, a professor of materials science at <b>Holland's Delft University of Technology</b>, believes <span style="background-color: yellow;color:black;">it is more interesting to compare 3-D reproductions to earlier 2-D reproductions</span>. It shows how far technology has come. <br />
<br />
Working with <b>Canon</b> and the <b>Rijksmuseum</b>, <span style="background-color: yellow;color:black;">Dik and one of his graduate students developed a scanning technique that allows them to capture the ridges and cracks of a painting, and to see beyond the surface layer of paint to understand the structure of the painting.</span> <br />
<br />
To the untrained eye their reproduction of Rembrandt's "<b>Jewish Bride</b>" might be mistaken for the original. <br />
<br />
But for Dik that's not the point. What's important is that <span style="background-color: yellow;color:black;">his 3-D representation is an incremental step forward</span>. In the future <span style="background-color: yellow;color:black;">3-D scanning techniques and printing may even replicate layers and luminescence, the quality whereby particles in paint make it appear to shine</span>. <br />
<br />
"<i>The one thing that is certain is that 3-D printing is advancing rapidly,</i>" Dick says. "<i>I'm quite sure that in a couple of years we'll be a couple of steps further.</i>"</div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-57198433967482330562013-12-29T12:40:00.000-05:002013-12-29T12:40:04.453-05:00Gorgeous Computer-Generated Flowers Bloom: Photos<div style="font-size: medium; line-height: 1.5em; text-align: justify;">
<div style="text-align: center;">
<b><a href="http://static.ddmcdn.com/gif/1-dan-brown-computer-flowers-670.jpg"><img border="0" src="http://static.ddmcdn.com/gif/1-dan-brown-computer-flowers-670.jpg" width="400" /></a></b></div>
<br />
British philosopher and mathematician <b>Bertrand Russell</b> once said, "<i>Mathematics, rightly viewed, possesses not only truth, but supreme beauty.</i>" <span style="background-color: yellow; color: black;">One look at these computer-generated images from <b><a href="http://www.danielbrowns.com/">Daniel Brown</a></b> and Russell's words come to life. </span><br />
<br />
Brown, a London-based designer, programmer and artist who specializes in digital technology and interactive design <span style="background-color: yellow; color: black;">uses custom algorithms to "grow" gorgeous floral artwork that will blow your mind</span>. Here are 11 of our favorites.<br />
Courtesy<b> Daniel Brown</b> <br />
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<div style="text-align: center;">
<b><a href="http://static.ddmcdn.com/gif/2-dan-brown-computer-flowers-670.jpg"><img border="0" src="http://static.ddmcdn.com/gif/2-dan-brown-computer-flowers-670.jpg" width="400" /></a></b></div>
<br />
It all started in <b>1999</b>, when <span style="background-color: yellow; color: black;">Brown demonstrated a computer program and mathematical model that used special code to produce fractals</span>. The resulting animations were almost hypnotic. "<i>It was the first time I realized that non-technical people could aesthetically appreciate mathematical formulas if they saw them 'come alive,</i>'" he said.<br />
Courtesy Daniel Brown <br />
<br />
<div style="text-align: center;">
<b><a href="http://static.ddmcdn.com/gif/3-dan-brown-computer-flowers-670.jpg"><img border="0" src="http://static.ddmcdn.com/gif/3-dan-brown-computer-flowers-670.jpg" width="400" /></a></b></div>
<br />
Brown created the pieces in this slideshow for the <b><a href="http://www.vam.ac.uk/">Victoria and Albert Museum</a></b> and the <b><a href="http://www.dundee.ac.uk/museum/collections/zoology/">D'Arcy Thompson Zoology Museum</a></b>, as well as projects for corporate clients. <span style="background-color: yellow; color: black;">A swimming accident in 2003 broke Brown's spinal cord, causing paralysis</span>. As a result, <span style="background-color: yellow; color: black;">he uses a finger-splint device and a large track pad to operate a computer.</span> Even without this added challenge, his flowers are uniquely beautiful; no two look exactly the same.<br />
Courtesy Daniel Brown <br />
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<div style="text-align: center;">
<b><a href="http://static.ddmcdn.com/gif/4-dan-brown-computer-flowers-670.jpg"><img border="0" src="http://static.ddmcdn.com/gif/4-dan-brown-computer-flowers-670.jpg" width="400" /></a></b></div>
<br />
Several years ago Brown produced <span style="background-color: yellow; color: black;">a three-story-high projection of flowers for the <b>Victoria and Albert Museum</b></span>. Each petal generated contained combinations of images from the museum's textile collection. The work was named in honor of <a href="http://www.darcythompson.org/" target="_blank"><b>D'Arcy Wentworth Thompson</b></a>, a pioneering bio-mathematician known for his <b>1917</b> book <b>On Growth and Form</b>.<br />
Courtesy Daniel Brown <br />
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<div style="text-align: center;">
<b><a href="http://static.ddmcdn.com/gif/5-dan-brown-computer-flowers-670.jpg"><img border="0" src="http://static.ddmcdn.com/gif/5-dan-brown-computer-flowers-670.jpg" width="400" /></a></b></div>
<br />
Last year, the<a href="http://www.dundee.ac.uk/museum/collections/zoology/" target="_blank"><b> D'Arcy Thompson Zoology Museum</b></a> at the <b>University of Dundee</b> in <b>Scotland </b>contacted Brown after seeing his Victoria and Albert Museum work and asked him to create a piece for them. <span style="background-color: yellow; color: black;">Brown said he used generative design to create the realistic flowers for this newer exhibition, which went up last spring.</span> Each flower shape is determined by an algorithm that is then altered to take into account natural variation.<br />
Courtesy Daniel Brown <br />
<br />
<div style="text-align: center;">
<b><a href="http://static.ddmcdn.com/gif/6-dan-brown-computer-flowers-670.jpg"><img border="0" src="http://static.ddmcdn.com/gif/6-dan-brown-computer-flowers-670.jpg" width="400" /></a></b></div>
<br />
<span style="background-color: yellow; color: black;">Another mathematical formula is used to generate the <b>color and texture</b> applied to the shapes</span>. Each arrangement is grown over about 50 seconds, resembling time-lapse photography that's been sped up. "<i>After this, they fade out and another arrangement is created,</i>" he said.<br />
Courtesy Daniel Brown <br />
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<div style="text-align: center;">
<b><a href="http://static.ddmcdn.com/gif/7-dan-brown-computer-flowers-670.jpg"><img border="0" src="http://static.ddmcdn.com/gif/7-dan-brown-computer-flowers-670.jpg" width="400" /></a></b></div>
<br />
Brown's original pieces only used two-dimensional computer graphics that mimicked a 3-D look. However, in the past few years, computer technology has evolved so that he can simulate surfaces, behaviors and lighting in real time.<br />
<br />
Sometimes Brown produces a flower that even amazes him. "<i>I can't work out the particular parameters that would have gone into it, and am left scratching my head,</i>" he said. "<i>Because the flowers regenerate every minute or so, it's a fleeting moment, and there is something almost poetic knowing that no one will ever see that one flower again.</i>"<br />
Courtesy Daniel Brown <br />
<br />
<div style="text-align: center;">
<b><a href="http://static.ddmcdn.com/gif/8-dan-brown-computer-flowers-670.jpg"><img border="0" src="http://static.ddmcdn.com/gif/8-dan-brown-computer-flowers-670.jpg" width="400" /></a></b></div>
<br />
D'Arcy Wentworth Thompson was a Scottish scientist and scholar who <span style="background-color: yellow; color: black;">took various natural processes such as evolution and tried to question them mathematically</span>. He sought to discover out how differences in shape and form between two genetically related species could be mathematically modeled, Brown explained. <br />
<br />
He also wondered about physical processes like weather, and how they could change one shape into another. Getting contacted by the D'Arcy Thompson Zoology Museum was the ultimate honor, Brown said. "<span style="background-color: yellow; color: black;"><i>I couldn't think of a more fitting thing to do for one of my scientific heroes.</i></span>"<br />
Courtesy Daniel Brown <br />
<br />
<div style="text-align: center;">
<b><a href="http://static.ddmcdn.com/gif/9-dan-brown-computer-flowers-670.jpg"><img border="0" src="http://static.ddmcdn.com/gif/9-dan-brown-computer-flowers-670.jpg" width="400" /></a></b></div>
<br />
Brown's flowers are so realistic that occasionally museum visitors won't realize they're computer graphics and will insist on asking him what kind of flowers they are. Other reactions are more visceral. <br />
<br />
"<i>When my work was on show in the Victoria and Albert Museum, young children -- toddlers rather -- would run up to the wall it was being projected on and try and hug it,</i>" he said. "<i>At that moment people stop seeing technology, and just see beauty.</i>"<br />
Courtesy Daniel Brown <br />
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<div style="text-align: center;">
<b><a href="http://static.ddmcdn.com/gif/10-dan-brown-computer-flowers-670.jpg"><img border="0" src="http://static.ddmcdn.com/gif/10-dan-brown-computer-flowers-670.jpg" width="400" /></a></b></div>
<br />
While he's staying quiet about plans for future art projects,<span style="background-color: yellow; color: black;"> Brown said he looks forward to a future when 3-D printing is refined enough to print realistic versions of his computer flowers.</span><br />
<br />
Courtesy Daniel Brown <br />
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<div style="text-align: center;">
<b><a href="http://static.ddmcdn.com/gif/11-dan-brown-computer-flowers-670.jpg"><img border="0" src="http://static.ddmcdn.com/gif/11-dan-brown-computer-flowers-670.jpg" width="400" /></a></b></div>
<br />
He imagines he'll be able to make ever more intricate and extraordinary flowers. "<i>Although I was both an artist and programmer before my injury, <span style="background-color: yellow; color: black;"><b>I have switched to creating art purely with code,</b></span></i>" Brown said. "<i>In that way I consider myself incredibly lucky. I think I had one of the only jobs in the world that could 'survive' such a life changing event as that.</i>"<br />
<br />
To see more images, visit <b><b><a href="http://www.flickr.com/photos/play-create/with/9487987254/">Daniel Brown's Flickr page</a></b></b>. <br />
Courtesy Daniel Brown </div>
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<div style="font-size: medium; font-size: medium; line-height: 1.5em; line-height: 1.5em; text-align: justify;">
<br />
<b>ORIGINAL:</b> <b><a href="http://news.discovery.com/tech/gear-and-gadgets/gorgeous-computer-generated-flowers-bloom-photos-131121.htm">Discovery</a></b><br />
by <b><a href="http://news.discovery.com/alyssa-danigelis.htm"> Alyssa Danigelis</a></b><br />
Nov 21, 2013 </div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-69422819277685570502013-12-16T11:52:00.001-05:002013-12-16T11:52:28.058-05:00What is the common ground between art and science? And how is Beethoven like Darwin?<div style="font-size: medium; line-height: 1.5em; text-align: justify;">
<b>ORIGINAL:</b> <b><a href="http://www.theguardian.com/science/2013/nov/17/art-science-ian-mcewan-nima-arkani-hamed">The Guardian</a></b> (Nov 17),<a href="http://www.theguardian.com/science/video/2013/nov/12/ian-mcewan-art-meets-science-video" target="_blank"><b> EDGE</b></a> (Dic 16)<br />
<br />
<img src="http://www.edge.org/sites/default/files/articleimages/titlepiece_0.gif" /><br />
News From: <br />
The Observer—The New Review<br />
<b><a href="http://www.theguardian.com/science/2013/nov/17/art-science-ian-mcewan-nima-arkani-hamed">Read the full article →</a></b><br />
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<tr><td style="text-align: center;"><img src="http://static.guim.co.uk/sys-images/Observer/Pix/pictures/2013/11/14/1384444998149/Nima-Arkani-Hamed-Martha--008.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Nima Arkani-Hamed, Martha Kearney</b> and <b>Ian McEwan</b> at <b>London's Science Museum</b> <br />Photograph: Jennie Hills/Science Museum</span></td></tr>
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<b>DO THE TWO CULTURES STILL EXIST?</b><br />
<b>IAN McEWAN:</b> That old, two-culture matter is still with us, ever since <b><a href="http://www.newstatesman.com/cultural-capital/2013/01/c-p-snow-two-cultures">[CP] Snow promulgated it back in the 50s</a></b>. It still is possible to be a flourishing, public intellectual with absolutely no reference to science but it's happening less and less. And I think it's less a change of any decision in the culture at large, just a social reality pressing in on us. And it's true that climate change forces us to at least get a smattering of some idea of what it is to predict systems that have more than two or three variables and whether this is even possible. The internet has created sites like <b>John Brockman</b>'s wonderful <b><a href="http://edge.org/">edge.org,</a></b> where it's possible for laymen to sit in on conversations between scientists. And when scientists have to address each other out of their specialisms they have to speak plain English, they have to abandon their jargons, and we're the beneficiaries of that.<br />
<br />
<b>NIMA ARKANI-HAMED:</b> It's an asymmetry that doesn't really need to exist. Certainly many scientists are very appreciative of the arts. The essential gulf is one of language and especially in theoretical <b><a href="http://www.theguardian.com/science/physics">physics</a></b>, the basic difficulty is that most people don't understand our language of mathematics which we use to describe everything we know about the universe. And so while I'm capable of listening to and intensely enjoying a <b>Beethoven</b> sonata or an <b>Ian McEwan</b> novel it can be more difficult for people in the arts to have some appreciation for what we do. But at a deeper level there's a commonality between certain parts of the arts and certain parts of the sciences.<br />
<br />
<b>IM:</b> I'm one of those know-nothing liberal arts students who at the age of 16 remembers a maths teacher coming into the room and saying "<i>I'll take 10 of you volunteers and I'll get you through A-level maths</i>" so us English, history, French types went and were patiently taken through and it was the most intellectually difficult and delightful thing I ever did. And the highest I got was calculus. I thought I had reached my intellectual ceiling. Now that's first steps for any maths undergraduate but it gave me a taste for the sort of respect for a society where you couldn't really claim to be any sort of intellectual unless you had some kind of foot in the world of mathematics. So I think we're in a situation of awkward respect. You go into <b>Westminster Abbey</b> and<b><a href="http://rationalist.org.uk/articles/4208/art-versus-science-at-westminster-abbey"> Dirac's equation is carved in stone</a></b>. To stand there and look at it, I think even for those of us who've got very little grasp of maths, can be a kind of aesthetic experience.<br />
<br />
<b>NA-H:</b> One of the things that we try to do sometimes in explaining what's going on in physics is to find useful analogies and metaphors. But we could be doing a better job explaining the structure in which we're having these thoughts, explaining why we're doing what we're doing, explaining the pursuit of truth with a capital T which is underlying all of it: what it is that motivates people to spend three decades working with not necessarily a payoff in sight until, every now and then, we celebrate these tremendous achievements. There is an obsessive element to it which should be familiar to the artist – to many people in society. And it's driven by the pursuit of something much, much bigger than ourselves and the little trivial concerns of everyday life.<br />
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<b>SCIENCE, ART AND THE IDEA OF BEAUTY<br />NA-H:</b> There's a very common metaphor for describing the <b>Higg's particle</b>. It's this idea of the universe filled with something and the little ball bearing or whatever it was passing through the fluid picking up some inertia. That's a good example of a metaphor that gives some sense of what's actually going on. There's a difficulty with metaphors, which is that you can't take them too far – they're not literally what's going on. And often when that analogy is used there's some clever person in the audience, normally a 12-year-old kid, who puts up their hand and says <i>"Excuse me, isn't that just like the ether? Didn't you guys learn anything?</i>" And that's when we have to say: "<i>Trust us. It's something that fills the universe that's not like the ether</i>" and so there's always a limitation to metaphors. It is possible to explain some of these things. This is one of the wonderful things about fundamental physics. The essential ideas are simple. The possible answers to essential open questions are more complicated but the essential issues are deep and they're simple to state. And with some patience it's possible to address them head on and get a sense for what's going on without all the details of the mathematics. But it requires a very engaged audience and it can't be done casually.<br />
<br />
<b>IM:</b> Nima has written a stunning essay for the layman called <b><a href="http://www.sns.ias.edu/%7Earkani/pdfs/FundamentalPhys.pdf">The Future of Fundamental Physics</a></b>. There's not a line of maths in it. I'm not going to pretend it's easy reading but you wrote it, I think, for anyone who's interested in that question, outside the field. I think we've lived through a golden age of science writing. Natural selection is not a very difficult idea but its consequences cascade beautifully. <b>Bayes' Theorem</b> is not very difficult, I mean it's almost arithmetic and yet the applications it now has in neuroscience are formidable. So I think we can cross these fields together and I'm very interested in the aesthetics of this. There's that famous remark of <b>Jim Watson</b>'s, when <b>Rosalind Franklin</b> came to look at his and Crick's model of a DNA molecule, that it was too beautiful not to be true. Again we come into this field in which the aesthetics of something in the <b>Keatsian sense </b>– beautiful and true – must embrace both subjects.<br />
<br />
<b>NA-H:</b> We often talk of the idea of beauty in theories. And I think if this is interpreted loosely you won't get really a sense of what we mean. We have to be a little more specific. Ideas that we find beautiful are not a capricious aesthetic judgment. It's not fashion, it's not sociology. It's not something that you might find beautiful today but won't find beautiful 10 years from now. The things that we find beautiful today we suspect would be beautiful for all eternity. And the reason is, what we mean by beauty is really a shorthand for something else. The laws that we find describe nature somehow have a sense of inevitability about them. There are very few principles and there's no possible other way they could work once you understand them deeply enough. So that's what we mean when we say ideas are beautiful. A year ago I ran into this <b><a href="http://www.youtube.com/watch?v=Paqj1Nz_2g4&list=PLoX2KF0gv5F88YCtkeeXaOW_u_ocJlBR-&index=4">great lecture on YouTube by Leonard Bernstein</a></b> about the first movement of <b>Beethoven's Fifth</b>. And Bernstein used precisely this language – not approximately this language – exactly this language of inevitability, perfect accordance to its internal logical structure and how difficult and tortuous it was for Beethoven to figure out. He used precisely the same language we use in mathematics and theoretical physics to describe our sense of aesthetics and beauty.<br />
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<b>IM:</b> You don't hear beauty much mentioned even by composers in relation to modern music. It's not the common pursuit. For my taste all atonal music sounds like an expression of anxiety. And yet I think we do need a return to this in the arts. I don't think we have much trouble in poetry with this. <b>Seamus Heaney</b> died recently and there was a lot of time to reflect on his work, and the beauty of those lines, of his work was constantly referenced. Part of the problem was modernism, the great aesthetic revolution of the early 20th century to which we are all bound and must work in gratitude for – but we lost certain things. Along the way emotion and art were somewhat detached. When I was a student at <b>Sussex Universit</b>y we had to write essays on a statement by the <b><a href="http://en.wikipedia.org/wiki/Jos%C3%A9_Ortega_y_Gasset">Spanish philosopher Ortega y Gasset </a></b>in which he said "<i>tears and laughter are aesthetic frauds</i>". This was the pure, high, modernist statement, that you had to detach those feelings about emotion and beauty from art itself.<br />
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<b>THE DAILY LIVES OF ARTISTS AND SCIENTISTS</b><br />
<b>IM:</b> I often wonder what theoretical physicists do all day and my fantasy is they are rather like novelists. They sit around with their feet on the radiator staring out the window with a notepad within reach. They must be in the world of that kind of misty, drifting, creative thinking that has a bit of talent, a bit of luck, a bit of being shaped by current mood that can bring sudden insight. To wonder how to progress or even start a novel is to enter a state of what <b>V S Pritchett</b> called determined stupor, and those of us who are paid to be in that state count ourselves very lucky.<br />
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<b>NA-H:</b> I've always thought composers and novelists are probably very close to mathematicians and theoretical physicists psychologically in how they go about things.<br />
<br />
Perhaps contrary to a certain sort of mythology people don't go to their offices and just churn through equations. You have a certain set of questions you are trying to solve and you have to imagine what the story could possibly be for what the solution is. You have to try to imagine what the sort of global answer could possibly look like – or at least chunks of the global answer. You try on stories – could it work like that? And often because of the underlying rigidity, the same thing that gives rise to the beauty that we talked about, it's beauty because there is a right and wrong. There is some problem that's being solved. If the story is a great story it has a better chance of being right than if it's a crappy story. And sometimes stories are too good to be true and that happens very often. And we try out what could possibly be solutions to the problems and then we have to prove ourselves wrong as quickly as we possibly can. And that's what 99% of our life is about. We try out stories and we prove them wrong. So you have this experience of failing day after day after day and it's a particularly intensely bad feeling to fail so much because you know what success looks like and you can't fool yourself when you're not there. So even though you don't know what the solution is, you know when you don't have it. You have to keep going and going until gradually you fail better and better and better and every now and then, once every two or three years, something works.<br />
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<b>IM:</b> Here is a major difference. I'm well aware in science how important it is to be first. Being second with the structure of DNA would consign you to the dustbin of history, whereas every novelist knows that you're in a self-sustaining world in which whatever you say is so. It's for others to accept it or reject it. I often pity those scientists who are in a race just to get on the public record for the first time – days, weeks before someone else – and your life can be transformed. Crick and Watson are a perfect case of this. If [<b>Linus] Pauling</b> had got there before them we wouldn't have heard of Jim Watson. It's a tougher world.<br />
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<b>NA-H:</b> It's one of the classic things we talk about, the difference between art and science. Even here there's more commonality than meets the eye. But I want to say one thing about originality at an even baser level of how easy it is to be original, how much innate, intrinsic talent is needed to be able to do something. And here we [scientists] have an advantage – there's this thing out there that we're not inventing but discovering. And because of that all you have to do is get somewhere in the neighbourhood of the truth. You don't have to get particularly close to it, you just have to know that it's there and then you have to not fight it and just let it drag you in toward itself. If you're very talented you might hack your way there more quickly. If you're less talented you might have to pinball around and it takes a little longer to get there.<br />
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<b>IM:</b> That fateful morning when one of his children was extremely ill and Darwin opened a 20-page letter from <b>[Alfred Russel] Wallac</b>e and said "<i>All my originality is smashed</i>". The anxiety attack that Darwin had then, no novelist could have such a thing.<br />
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<b>NA-H:</b> What you're talking about – the anxiety, who gets the credit and so on – this is important to the individuals involved. It's of no importance in the grand scheme of things. But there is an important sense in which even the same discoveries, even the same existing body of knowledge, the things that are sitting there in textbooks for hundreds of years already, are perceived in different ways by different scientists. Because to be able to do anything new you have to organise the existing body of knowledge in some unique way that's your way of thinking about it. One of the deeper reasons why it's important to have different people approaching the same problem – even if they end up finding the same solution – is the path towards a solution suggests many divergent ways things could progress and having many of those paths is still useful.<br />
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<b>IM:</b> Writing a novel takes roughly about the time of an undergraduate course for me and you might draw on the work of a historian, you might need to read a biography of a composer. I would like to feel that we could think about science as just one more aspect of organised human curiosity rather than as a special compartment. And it has, as has been very clear from this discussion, a powerful aesthetic. I think we need to generalise it. We need to absorb it into our sense that we can love the music of Beethoven without being composers and we could love science as a celebration of human ingenuity without being scientists.<br />
<br />
Science has had a huge effect on my own sense of the world. It certainly has helped me along the way to a general global scepticism about religion. The world of faith is inimical to the world of science and in that sense science has helped me want to write books every now and then that celebrate a full-blooded rationalism. It's one of our delightful aspects and it informs what we try to do with our laws and social policy. We don't succeed a lot of the time. And we despair of human relationships at the most private level when they're irregular or contradictory. We demand even of our lovers a degree of coherence and behind that lies a notion of consistency and rationality.<b> Enduring Love</b> was actually a novel wishing to oppose the romantic notion that abstraction and logic and rationality and science in particular was a cold-hearted thing, a myth I think which began with <b>Mary Shelley's Frankenstein</b>. We need to reclaim our own sense of the full-bloodedness, the warmth of what's rational. <br />
<br />
[EDITOR'S NOTE: Related reading on Edge: <b><a href="http://www.edge.org/conversation/the-third-culture">"The Third Culture"</a></b>, 1991]</div>
<br />Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-80141019887300611882013-10-31T22:18:00.002-05:002013-10-31T22:19:32.284-05:00 pixelstick - Light painting evolved<div style="font-size: medium; line-height: 1.5em; text-align: justify;">
<b>ORIGINAL:</b> <b><a href="http://www.kickstarter.com/projects/bitbangerlabs/pixelstick-light-painting-evolved">KickStarter</a></b><br />
<b><a href="http://www.kickstarter.com/projects/bitbangerlabs/pixelstick-light-painting-evolved">by </a></b><b><a href="http://www.kickstarter.com/projects/bitbangerlabs/pixelstick-light-painting-evolved/creator_bio">Bitbanger Labs</a></b><br />
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<b>Add photoreal images, abstract designs, and animation to your long exposure photos and timelapse. </b><br />
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<iframe frameborder="0" height="300" scrolling="no" src="http://www.kickstarter.com/projects/bitbangerlabs/pixelstick-light-painting-evolved/widget/video.html" width="400"> </iframe>
</div>
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<b>What's "light painting"?</b><br />
In 1889, artist <b>Georges Demeny</b> created the first known light painting photograph, “<i><b>Pathological Walk From in Front</b></i>”, by attaching incandescent bulbs to his assistant’s clothing and taking a long exposure. The technique was groundbreaking and became the touchstone for 125 years of unique and compelling works of art. Photographers have since added colored lights and performed deft physical feats to capture interesting images, but the technology involved has remained remarkably similar to what Demeny used in that first image. Until today.<br />
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<b>How do I start? </b><span style="background-color: yellow; color: #333333;">Light painting is a fairly simple to do. </span><br />
The first step is to make sure you have the right equipment. Almost every DSLR, and most point-and-shoots, have a long exposure mode.<span style="background-color: yellow; color: #333333;"> It's as simple as choosing the length of the exposure (from a few seconds to a few hours) and moving a light source within the frame</span>. The process itself is fun and the excitement of seeing what you captured immediately can be extremely rewarding.<br />
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<img height="225" src="https://s3.amazonaws.com/ksr/assets/001/243/334/cee58879625fb9495d45753dd8c7e257_large.jpg?1382844336" width="400" /></div>
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If you’re like us, however, as you grow to love the medium, you’ll also grow frustrated with its limitations. <b>Pixelstick</b> sprang from our desire to break free of these limitations. Lightpainting involves thinking creatively and trying outlandish ideas in the pursuit of amazing pictures. Pixelstick broadens the horizon of what's possible. <span style="background-color: yellow; color: #333333;">Over many months of shooting we found Lightpainting to be more entertaining and more rewarding than ever</span>. We were consistently amazed by what we were able to capture; we can't wait to see what you can do with it, too.</div>
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<div style="text-align: center;">
<img height="180" src="https://s3.amazonaws.com/ksr/assets/001/254/150/a5b3dcab5552e78e93885e537f6f6727_large.jpg?1383074029" width="400" /></div>
<b><br />The fine detail</b><br />
<span style="background-color: yellow; color: #333333;">Pixelstick reads images created in Photoshop (or the image editor of your choice) and displays them one line at a time, creating endless possibilities for abstract and/or photorealistic art.</span> Taking this one step further, Pixelstick can increment through a series of images over multiple exposures, <span style="background-color: yellow; color: #333333;">opening up light painting to the world of timelapse, and allowing for animations the likes of which have never before seen.</span></div>
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<img height="223" src="https://s3.amazonaws.com/ksr/assets/001/250/439/1dee6b42d7939d10ac4065d737aae8e9_large.gif?1383004110" width="400" /></div>
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<span style="background-color: yellow; color: #333333;">Pixelstick consists of 198 full color RGB LEDs inside a lightweight aluminum housing</span>. Pixelstick’s brain, a small mounted box, reads images from an SD card and displays them, one line at a time. Each LED corresponds to a single pixel in the image. <span style="background-color: yellow; color: #333333;">The images themselves can be from 1 to 198 pixels tall and many thousands of pixels wide</span>. The handle is perpendicular and has a secondary aluminum sleeve, allowing pixelstick to spin freely. Pixelstick uses 8 AA batteries. Throughout testing we’ve used Sanyo Eneloop and Amazon rechargeable to great success, never requiring more than one set for a long night’s shooting.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="272" src="https://s3.amazonaws.com/ksr/assets/001/252/587/c61338c6c763812a1d6ab78515ad8a41_large.jpg?1383051446" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
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<b>What do we get?</b><br />
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<img height="228" src="https://s3.amazonaws.com/ksr/assets/001/247/569/6158b47c5a28249bfcf5673f8165fedf_large.jpg?1382963332" width="400" /></div>
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A central bracket connects the two 3' sections of aluminum housing and provides a mounting point for the handle. Over many designs we found that the perpendicular handle allowed for the most natural movement for both linear striping and more organic, abstract movements. A rotating sleeve sits over the handle and can be locked tight when not in use, or loosened allowing Pixelstick to spin freely. <br />
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<img height="290" src="https://s3.amazonaws.com/ksr/assets/001/247/673/9905d82e808b9d71d461b4a3c979ba97_large.jpg?1382966556" width="400" /></div>
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The handbox not only allows you to select which image to load, but controls brightness, tint, firing speed, vertical flip, and left/right direction.<span style="background-color: yellow; color: #333333;"> There is also a port compatible with remote camera triggers (Canon C1) for wireless shooting</span>. <br />
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The entire unit is <i><b>matte black</b></i>, rendering it virtually invisible to long exposures. A mounting channel runs the full length of the back. This slot accepts 1/4-20" threaded bolts, standard to the camera world, and allows you to get creative by mounting things to Pixelstick and mounting Pixelstick to things. <br />
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Sturdy caps protect each end of the Pixelstick, while cable clips keep everything snug against the housing. </div>
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<img height="352" src="https://s3.amazonaws.com/ksr/assets/001/248/347/e0a83f0bd87a40fd5d21b2e750ca6cb4_large.jpg?1382980140" width="400" /></div>
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The full package contains:<br />
<ul style="font-size: medium; line-height: 1.5em; text-align: justify;">
<li>LED PCBs (198 LEDs total)</li>
<li>Two 3’ aluminum extrusion with connecting bracket & diffusion lens</li>
<li>Handle with foam grip and rotating sleeve</li>
<li>Controller box with connecting cables and clips</li>
<li>Battery holder (AA Batteries not included)</li>
<li>Carry bag </li>
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<img height="400" src="https://s3.amazonaws.com/ksr/assets/001/247/676/8056489d5b1ec5bee6bbea4cbfb2c057_large.jpg?1382966581" width="391" /></div>
<b>The Tale of pixelstick</b><br />
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<b>The Beginning</b><br />
Pixelstick began as a proof of concept using an arduino and some off the shelf LED strips. We got results, but weren't happy with the resolution of nor with the durability and usability of the actual device. We moved quickly into custom LED circuit boards, a more powerful ARM microcontroller and a sturdier design made of lightweight aluminum rather than plastic tubing. With the ability to control the density of the LED count while at the same time refining the custom aluminum extrusion, the current version of pixelstick began to take shape.<br />
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Our early controller prototypes were bare circuit boards, followed by a rather quaint wooden handbox (which we still quite like), and eventually on to higher and higher fidelity 3d printed enclosures. Each iteration performed better and was tweaked as we logged more hours with the pixelstick.<br />
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<tr><td style="text-align: center;"><img height="223" src="https://s3.amazonaws.com/ksr/assets/001/250/413/2b3a570d4d557fe9d559c3b9d9dd16b4_large.jpg?1383003827" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">PCB Evolution </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Just a few of the controller iterations </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Controller Handbox and PCB </span></td></tr>
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The handle went from a small stud, to a long vertical bar, and then eventually to a perpendicular tube with an attachment for spinning. We are still continuing to tweak the design as we move forward and have already committed to having a second extrusion made that will be more compatible with off the shelf nuts and bolts, so that replacements and extra hardware will be much easier for to source.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Extrusion profile next to Bracket/Stud </span></td></tr>
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<b>The Middle</b>When pixelstick is funded we'll be able to start production in earnest. Our circuit board will have its final stress testing and bug checking done before we lock in one of the multiple PCB manufacturers we have lined up. Once this is set we will have an initial small run of fully assembled PCBs made to test the vendor and make sure that no issues arise on the assembly line. Concurrently, we will do a final round of 3d prints of our handbox and revised extrusion design before moving forward with the tooling for the extrusion die and injection molds. Upon receipt of our new tooling we will do trial runs of both the extrusion and injection molded components. At this point we will have all the parts to make a fully assembled pixelstick as it will ship to our backers. It is here that we will do a final check to make sure everything comes together as expected and is up to our standards. When we are satisfied we will go into full manufacture on all components and begin producing and shipping pixelstick to our backers.<br />
What's the money for?<br />
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It's surprisingly expensive to produce just one of something. Your pledge will help cover initial costs such as tooling for injection molding, and aluminum and plastic extrusions. Additionally, the cost of manufacturing only becomes feasible when we meet the minimum order requirements for our various vendors. This means that we must have a have a certain number of Pixelsticks spoken for before we can begin the process of manufacturing them.<br />
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We have a fully functional prototype, a design that we’ve refined over months of shooting, and multiple manufacturers lined up for every phase of the project. We need only the support of interested folks like you to put Pixelstick on the map and change light painting forever.<br />
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<img height="192" src="https://s3.amazonaws.com/ksr/assets/001/250/431/23b9622b71c1daf157279210883af25f_large.gif?1383004084" width="400" /></div>
<b>Rewards</b><br />
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<tr><td style="text-align: center;"><img height="298" src="https://s3.amazonaws.com/ksr/assets/001/251/445/2265b8d712fa470beed7a4a3f1c30f5c_large.jpg?1383018292" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">$10 - Pack of three 4 color, double sided postcards </span></td></tr>
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<tr><td style="text-align: center;"><img height="302" src="https://s3.amazonaws.com/ksr/assets/001/252/502/64ef4ee4a0b039f9cc9ceced699cfc18_large.jpg?1383048794" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">$25 - 18x24 poster print </span></td></tr>
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<tr><td style="text-align: center;"><img src="https://s3.amazonaws.com/ksr/assets/001/251/469/3cab080565ac107c0d5d59e5d4e345fa_large.jpg?1383018937" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">$300 ($250 for Early Birds!) - Pixelstick kit with Carry bag</span></td></tr>
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<b>Credits & Attributions</b><br />
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<b>Music:</b><br />
Pixelstick Montage music: <b><a href="http://programs1.bandcamp.com/">Stormburner by Programs</a></b><br />
Lightpainting Explained music: <b><a href="http://irregular.bandcamp.com/track/as-you-want">As You Want by Irregular</a></b><br />
<b><br />Artwork:</b><br />
** Polaroid Pic - <b><a href="https://www.facebook.com/Imustbedead.Photography.">imustbedead Photography</a></b> **<br />
Graffiti - yeeerrrp on Reddit<br />
Boombox - Paul Robertson (@probbz)<br />
Scary Monsters - <b><a href="http://www.pixeljoint.com/p/2621.htm">Cure</a></b><br />
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<b>Various Lightpaintings:</b><br />
Danimal1010 on Reddit<br />
<b><a href="http://www.flickr.com/photos/cal_mopho">cal_mopho on Flickr</a></b><br />
<b>Crashburn</b> on <b><a href="http://commons.wikimedia.org/wiki/File:Light_painting.jpg">Wikimedia</a></b><br />
<b>Peter Thurgood</b> on <b><a href="http://en.wikipedia.org/wiki/File:Steel_Wool_Spinning.jpg">Wikimedia</a></b><br />
<br />
The Pixelstick project will require managing several manufacturers and overseeing assembly of what these factories produce into a final product. Bitbanger Labs has experience dealing with these potential challenges from our previous project, Remee, which experienced some production delays because of components shortages and minor quality control issues. While this did cause a small delay in fulfillment, ultimately we are proud to say that we delivered a quality reward to all of our Kickstarter backers. To mitigate some of these potential risks, we have created relationships with multiple vendors prior to launch, so that we are able to react quickly should any problems arise during production of Pixelstick. While no production run is without its hiccups, we think our previous experience in not only managing a large project but also keeping our backers engaged and informed throughout the process equips us with all the tools necessary to bring Pixelstick to life. <br />
<b><br /> FAQ </b><br />
<b><a href="http://www.kickstarter.com/projects/bitbangerlabs/pixelstick-light-painting-evolved?ref=NewsOct3113&utm_campaign=Oct31&utm_medium=email&utm_source=newsletter#project_faq_72351"> What size/format images should I use with Pixelstick? </a></b><br />
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Pixelstick images are 24-bit uncompressed .bmps, and should be 198 pixels high, which allows each LED to correspond to an individual pixel in the image. The images can be many thousands of pixels wide. Images that are more than 198 pixels in height are cropped by the stick when used but the file remains unaltered. For best results, we recommend resizing all larger images to the correct height, as well as experimenting with various resampling options to get the sharpest, most accurate resize.</div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-12324729516916240162013-10-27T11:01:00.002-05:002013-10-27T13:06:25.315-05:00Camila Botero: Premio al talento joven en artBo<div style="font-size: medium; line-height: 1.5em; text-align: justify;">
<b>ORIGINAL:</b> <b><a href="http://www.eltiempo.com/entretenimiento/arte/camila-botero-galardonada-en-la-feria-internacional-de-arte-de-bogota_13144889-4">El Tiempo</a></b></div>
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Por: <b><a href="https://plus.google.com/u/0/+ElTiempo/posts">REDACCIÓN EL TIEMPO</a></b> |</div>
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<b><a href="https://plus.google.com/u/0/+ElTiempo/posts">26 de Octubre del 2013</a></b></div>
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<tr><td style="text-align: center;"><img height="200" src="http://www.eltiempo.com/entretenimiento/arte/IMAGEN/IMAGEN-13144890-2.png" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
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La obra de Botero tiene video, fotos impresas sobre papel de algodón y una línea de neón en la que se lee Detroit.Foto: Archivo particular</div>
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<b>Por obra sobre Detroit, Camila Botero fue galardonada en la Feria Internacional de Arte de Bogotá.</b></div>
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La <b><b><a href="http://www.artboonline.com/portal/default.aspx" target="_blank">Feria Internacional de Arte de Bogotá, artBo,</a></b></b> concedió este sábado el <b>Premio Prodigy Beca Flora</b> a <b>Camila Botero</b>, una de las 23 artistas que fueron seleccionadas para exponer en el pabellón <b>Artecámara</b>, donde se presenta el trabajo de las nuevas generaciones de creadores nacionales.</div>
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Es la primera vez que se entrega este reconocimiento, que es apoyado por <b>EL TIEMPO</b> y <b>W Radio</b>, cuya finalidad es generarle oportunidades a la escena joven local. El anuncio del ganador lo hizo la directora de la Feria ArBo <b>María Paz Gaviria</b>, en compañía de <b>Roberto Pombo</b>, director de este diario, y los curadores que actuaron como jurados: <b>Maria Inés Rodríguez</b>, <b>Juan Sebastián Ramírez</b> y <b>José Roca</b>.</div>
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Por su trayectoria como artista, la solidez conceptual de su obra y la calidad de la misma, Botero fue escogida como ganadora por los jurados <b>María Inés Rodríguez</b>, curadora del Foro Académico; <b>Sebastián Ramírez</b>, curador del pabellón Artecámara, y <b>José Ignacio Roca</b>, curador de los Proyectos Individuales. <i>“Nos reunimos, miramos cada una de las piezas, y Sebastián Ramírez nos explicó no solo las obras, sino que nos dio un contexto de los artistas; de hecho, conocía algunos de sus talleres</i>”, dice Roca, reputado curador nacido en Barranquilla y director artístico del espacio independiente <b>Flora</b>.</div>
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Botero, de 37 años, hará una residencia artística en Flora, donde contará con el acompañamiento de Roca, y participará en las jornadas <b>Puertas Abiertas</b>, de ese sitio. Recibirá además una bolsa de producción para desarrollar su trabajo y podrá realizar, el próximo año, una exposición individual en la sala<b> Artecámara</b> de la sede Chapinero de la <b>Cámara de Comercio de Bogotá</b>, durante la décima edición de artBO.</div>
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<b>La obra ganadora</b></div>
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<span style="background-color: yellow; color: #666666;"><b>Arriba y abajo en el futuro</b> es una instalación que incluye fotografías, un video y una pieza de neón</span>, en la que se lee la palabra Detroit y que hace alusión a esta ciudad del estado de Michigan (EE. UU.), conocida por el importante desarrollo que tuvo allí la industria automotriz en los años 60, pero que ahora cayó en bancarrota.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: <a href="http://camilabotero.net/">CamilaBotero.net</a></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Detroit" Foto: </span><a href="http://camilabotero.net/" style="font-size: medium;">CamilaBotero.net</a></td></tr>
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<span style="line-height: 1.5em; text-align: justify;">Botero desarrolló el proyecto entre 2011 y 2012 y su propósito era hacer un análisis de la transformación de la famosa urbe</span><br />
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Las fotos muestran sus edificios, que evidencian el abandono y el desierto en el que se ha convertido una ciudad que llegó a tener 2 millones de habitantes y que en el último censo contó escasamente a 700.000 personas. Son imágenes de los lugares donde viven y trabajan los últimos ‘guardianes’ de Detroit.</div>
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El video, que está fragmentado en historias que no duran más de un minuto cada una, registra la vida cotidiana de los que quedan. El trabajo se puede ver hasta mañana en <b>Corferias</b>.</div>
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<b>¿Quién es Camila Botero?</b></div>
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Nació en <b>Medellín</b>, donde vive actualmente. Es maestra en Bellas Artes de la <b>Universidad de Antioquia</b>, con estudios de dirección de cine en la <b><b><a href="http://www.nyfa.edu/" target="_blank">New York Film Academy</a></b></b> (EE. UU.) y de análisis cinematográfico en el <b><b><a href="http://www.cecc.es/" target="_blank">Centre d’Estudis Cinematogràfics de Catalunya</a></b></b> (España).</div>
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Su obra abarca pintura, grabado, instalación, fotografía y video. Hace tres años realizó la residencia del programa <b>Cedic</b> (<b><a href="http://www.casatrespatios.org/" target="_blank">Casa Tres Patios</a></b> y <b><a href="http://ceroinspiracion-arte.blogspot.com/" target="_blank">Ceroinspiración</a></b>), en los límites de Ecuador y Perú, y ahora, con este premio, realizará una residencia en el espacio <b><a href="http://arteflora.org/" target="_blank">Flora</a></b>, en Bogotá.</div>
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Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0tag:blogger.com,1999:blog-2257961263227739530.post-46005284734483945872013-10-01T16:31:00.000-05:002013-10-01T16:31:20.194-05:00Better Out Than In: Banksy to Descend on NYC for an Outdoor “Residency” in October<br />
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<b>ORIGINAL:</b> <a href="http://www.thisiscolossal.com/2013/10/banksy-nyc/">Colossal</a></div>
October 1, 2013 <br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">http://www.banksyny.com/</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">October 1. Bansky</td></tr>
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Banksy’s website updated a few minutes ago to announce <a href="http://www.banksyny.com/">Better Out Than In</a>, “<i>an artists residency on the streets of New York.</i>” The ongoing event is accompanied by a phone number <b>(800) 656-4271</b> that you can call with a specific code correlating to each artwork. The current recording for #1, shown above, involves a satirical message that completely skewers typical audio tours found in museums and galleries and pokes fun of the artist as well, referring to him repeatedly as “<b><i>Ban Sky</i></b>”. <br />
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Do you think he’ll make a new piece every day? That seems pretty grueling. Stay tuned to <a href="http://www.banksyny.com/">www.banksyny.com</a> to find out. </div>
Hugo Angelhttp://www.blogger.com/profile/03534051823437072588noreply@blogger.com0