Learning from CGIs - Gillian Rose, Monica Degen, Clare Melhuish. It is certainly the case that the CGIs created for Msheireb Downtown were concerned to create a seductive ‘affect’.5 In the first instance, CGIs were developed by the masterplanners as means of persuading Msheireb Properties and the Qatar Foundation to invest in the redevelopment project. As the MDC manager described them, initially there were ‘around twenty images … more describing the mood of the whole development. So it was not about “that’s the building, that’s this building”, they were showing more “that’s the life on the street, this is what you’ll feel by taking the journey through the development”’.
A Special Design Review meeting in 2012 finalised 42 such images, and they have been appearing at real estate fairs and on the developer’s website and promotional literature since then, as well as on hoardings surrounding the building site that is currently Msheireb Downtown (see fig 2). Latour notes that “the notion of network is of use whenever action is to be redistributed”. Conquest of the Seven Seas - Captain Ferdinand Magellan´s interactive logbook. Journal de bord d'un conducteur : Il était une fois l'Orient Express.
Journal de bord d'un conducteur : Il était une fois l'Orient Express. Journal de bord d'un conducteur. Il était une fois l'Orient Express. La presse en parleL’exposition mêle joyeusement l'histoire d'un moyen de transport, son épopée à partir de 1883 et le mythe. Le Figaro, 10 avril 2014 Une belle exposition retrace la formidable aventure de l'Orient Express qui a tant inspiré le cinéma et la littérature. Paris Obs, 10 avril 2014 Suite... Plus qu’une exposition, un événement ! Dans toute sa splendeur d’autrefois l’Orient Express vient faire halte sur le parvis de l’Institut du monde arabe à l’occasion d’une grande exposition consacrée au plus mythique des trains, à cette icône de l’Art-Déco qui a fait le ravissement de générations de voyageurs, ouvrant grand à ceux-ci les portes de l’Orient.
Rendue possible grâce au concours de SNCF, cette manifestation de grande envergure est conçue en deux parties : C’est tout un train d’abord – locomotive en tête, suivie de trois voitures exceptionnelles et d’un wagon-restaurant – qui prend place sur le parvis de l’Institut. > Découvrir le site en accompagnement à l'exposition. Interactives. The Gallery One experience consists of ten interactives: the Collection Wall; three interactives designed for children and located in Studio Play (Line & Shape and two Matching & Sorting); six interactive displays (lenses); as well as the museum-wide app, ArtLens.
In addition, at the lobby entrance to Gallery One is the Beacon, a 4-by-4 array of 55-inch Edgelit 1080p LED displays. It plays a looping, non-interactive program displaying both dynamic and pre-rendered content. The six interactive stations collectively known as “lenses” feature touch screens that allow visitors to find out information on related artworks within the space itself, and enable unique interactive activities at each station. While each station shares a similar home screen layout, they all possess their own theme related to the artwork on display. Sculpture LensMake a Face – Facial recognition software is employed to match visitors’ facial expressions with one of 189 artworks in the museum’s collection.
NeOublie. CLASSLESS SOCIETY. Tang Museum | Classless Society | Where You Live. Doug Rickard, #27.144277, Okeechobee, FL (2008), from A New American Picture, 2011, archival pigment print, courtesy of the artist and Stephen Wirtz Gallery Photographer Doug Rickard (b. 1968) creates images of some of the nation's poorest cities and towns. In his series A New American Picture, Rickard employs images from Google Street View to create a portrait of Great Recession-era America. Rickard carefully selected the images in this series to bring to light the American landscape and its economic segregation. Motivated by the histories of race and class in the United States, Rickard used Street View to survey significant cities and locations in the history of the Civil Rights Movement, such as Selma and Birmingham, Alabama.
As the series developed, he deliberately chose places identified by realtors' websites as "bad neighborhoods," "areas to avoid," and other codes for places inhabited by the poor and underclass. Learn more about this artist.