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Miniroboter: Stärker als eine Ameise, geschickt wie ein Gecko - Multimedia. Vergrößern Foto: Biomimetics and Dexterous Manipulation Lab, Stanford University Von der Natur lernen. Forscher der Stanford University (USA) haben superstarke Miniroboter entwickelt. Sie können das 2000-Fache ihres Eigengewichts ziehen. Im Vergleich: Manche Ameisenarten können das 60-fache ihres Körpergewichts bewegen. Foto: dpa Picture-Alliance / Thomas Endlein Ein anderer Miniroboter, der 9 Gramm wiegt, kann Wände hochklettern und dabei mehr als das Hundertfache seines Gewichts bewegen.

Die Forscher haben sich die Technik vom Gecko abgeschaut, der auch kopfüber an Decken entlang laufen kann. Dabei helfen den Echsen die sogenannten Setae an den Füßen – Millionen von sehr dünnen, verzweigten Haaren. Einer der Stanford-Forscher sorgte bereits im vergangenen Jahr für Aufsehen, als er mit speziellen Haftplatten an Händen und Füßen eine Fassade hochkletterte. Und so funktioniert der Miniroboter: Weitere spannende Digital-Themen finden Sie hier. From oboe to Elbow: why orchestras are changing their tune. It’s an odd sort of theatre. The stage is full of people, men and women. They wear a sort of uniform, men one style, women another. They hold musical instruments, which they play as directed by a figure at the front of the stage. Their focus is on him – and it usually is a him – never us; we have paid to see them but they barely acknowledge our presence. They get on with their work and we watch and listen. It’s odd, but it’s popular, too. In cities across the industrialised world musicians and audiences regularly enact the strange rituals of this cult in halls built specifically for the purpose.

When, 40 years ago, I first started to go to orchestral concerts, I was convinced I was observing an institution in decline. More recently, something has changed. How can an orchestra today have any chance of recreating this sort of excitement? One way to retrieve the orchestral spectacle of the past is to throw the homogenisation process into reverse. The Greatest UK Garage Records You've Never Heard... By the Experts. In 2013, UK garage has been canonised more than ever, but the sheer volume of singles being released at the genre’s peak – many of them never documented digitally – ensures that there’s still hundreds of classics ripe for wider discovery.

With this in mind we asked a selection of artists – some of them current producers who grew up as garage fans, others veterans from the genre’s heyday – to pick a record that they feel deserves classic status but which, for whatever reason, slipped through the net. These are the greatest garage records you’ve never heard, as chosen by DJ Haus, DJ Q, Sunship, El-B, Zed Bias, Brackles, Mella Dee, Karl ‘Tuff Enuff’ Brown and T.

Williams. DJ Haus picked… ALEX LEE‘One More Time’(White Label, 2004) “Huge white label from amazing underrated producer Alex Lee. DJ Q picked… SHOLA AMA ‘Much Love’ (Dream Teem Remix) (WEA International, 1998) “A wicked track, almost ahead of its time. Sunship’s Ceri Evans picked… El-B picked… Audio here Zed Bias picked… On Discogs T. Matthieu Martin: ceci n’est pas du street art. WebernUhrWerk 2.3 - generative music generator for MacOS X. Generative Music Generator in Memory of Anton Webern © 2005-2018 by Karlheinz Essl With authentic bell sounds from the Belfry Carillon (Ghent, Belgium)! Sounds | Download | World-Wide Webern | License | Reviews For Whom the Bell Tolls On September 15th, 1945 the Austrian composer Anton Webern was accidentially shot dead by an American GI in Mittersill, Salzburg where Webern had escaped from the Russian invasion.

WebernUhrWerk (translated: Webern's Clockwork) was composed as an open-air sound installation for the 60th anniversary of Webern's death which took place on 15 September 2005 on the market place at Mittersill. Demo recording of WebernUhrWerk© 2015 by Karlheinz Essl For those having troubles to run the my computer program „WebernUhrWerk”, I have created a really long recording that you can use on any computer. 5 hour recording of WebernUhrWerk Compositional Aspects 12-tone row of Webern's unfinished op. 32 Programming Aspects System Requirements License Freeware Notice Download.

Sónar 18.19.20 Juny 2015 :: Exotèric Continent. Sota aquest nom sinistre i inquietant està Arnau Sala, un dels músics més interessants de l’underground de Barcelona. Exoteric Continent, creat l'any 2010, és el vehicle de Sala per experimentar amb sons estructurats i seqüenciats amb la idea de l'abstracció en ment, tendint ponts entre el dub, la música concreta, la tradició ambient, el techno profund de l'escola Basic Channel o l'electroacústica de Bernard Parmigiani, sense defugir el comentari polític i el context social.

El seu ressò ha arribat a les oïdes de Dominic Fernow (Vatican Shadow) que ha editat dos dels seus últims llançaments (l’EP “Primera Norma” i l’àlbum “Referendum”) al seu segell, Hospital Productions, convertint-se a més en còmplice habitual del músic català. Sala també ha publicat a Opal Tapes, Second Sleep i Silvox Recordings; dirigeix el segell Anòmia; i té dos projectes més en marxa: Vactor, al costat de la seva parella, Ivy Barkakati, i Veiled, amb Robert Francisco (Dexter Industries). Sónar 18.19.20 Juny 2015 :: Exotèric Continent. Problem loading page. Die Wohltat der Kunst. Post/Feministische Positionen der neunziger Jahre - Sammlung Goetz. Vor dem Hintergrund einer differenzierten Betrachtung der Geschlechterverhältnisse wirft die Ausstellung erneut Fragen zur Konstruktion von Körperkonzepten und Identitätszuschreibungen auf.

Der Begriff des Postfeminismus im Untertitel zielt dabei nicht auf eine Abgrenzung zu den feministischen Konzepten der 1970er-Jahre, sondern unterzieht sie vielmehr einer Revision. Ausgehend von der Beobachtung, dass es eine starke Präsenz von Künstlerinnen im Ausstellungsbetrieb der 1990er-Jahre gibt, zeigt die Ausstellung Werke von 15 Künstlerinnen und zwei Künstlern, die sich kritisch mit dem Bild des Körpers in unserer Gesellschaft und der Einschreibung von Machtverhältnissen befassen. Matthew Barney, Rineke Dijkstra, Tracey Emin, Mona Hatoum, Jonathan Horowitz, Sarah Jones, Sarah Lucas, Tracey Moffatt, Cady Noland, Catherine Opie, Pipilotti Rist, Daniela Rossell, Cindy Sherman, Ann-Sofi Sidén, Sam Taylor-Wood, Gillian Wearing, Sue Williams.

Design Context: Lecture 3: The Gaze and the Media. ‘according to usage and conventions which are at last being questioned but have by no means been overcome - men act and women appear. Men look at women. Women watch themselves being looked at’ John Berger 1972What Berger is not saying is that women are vain, he’s saying women internalise the gaze. They look at themselves in relation to how women appear in the media. Hans Memling Vanity 1485 She holds a mirror with an impossible reflection of her face. The mirror is used in contemporary fashion and advertising. Alexandre Cabanel 'Birth of Venus' 1863Partially covering her eyes. Sophie Dahl for Opiumthis version of the advert was deemed too overtly sexual. Titian’s Venus of Urbino 1538Berger says the look in her face is flirty and inviting. Manet 'Olympia' 1863The body is in the same position as Titian, There is a difference in the gaze. Do women have to be nude to be viewed in the Met Museum.

Manet 'Bar at the Folies Bergeres' 1882A type of self portrait. Coward, R. Griselda Pollock. THE DA-ZED GUIDE TO MARINA ABRAMOVIC. As she funds her new school, here's a 26-letter guide to the heroic performance artist. Pledge for the Marina Abramovic Institute here A is for Academy of Fine Arts Marina Abramovic is considered one of the world’s most influential living artists. Born in Belgrade, she trained there at the Academy of Fine Arts, before completing her post-graduate studies in Zagreb, Croatia. She was based in Amsterdam for over twenty years, before moving to New York City fourteen years ago. B is for Joseph Beuys As part of Seven Easy Pieces, a series of performances held at the Guggenheim Museum in 2005, Abramovic re-enacted iconic works by other artists, including Beuys’ How to Explain Pictures to a Dead Hare. C is for Chiara Clemente Director of the documentary, Our City Dreams, Clemente followed Abramovic and four other female artists—Swoon, Kiki Smith, Nancy Spero, and Ghada Amer—for two years, documenting their experiences in the art world, as well as their relationship to New York City.

D is for Death. THE DA-ZED GUIDE TO MARINA ABRAMOVIC. New Page 1. MARINA ABRAMOVIC: SEVEN EASY PIECES 9 - 15 November 2005 In recreating classic performance art pieces from the 1960s and 70s, veteran body artist Marina Abramovic wanted to ask an iconoclastic question: can performance art be treated like a performing art? Can it evolve beyond its puritanical origins in transience and unrepeatability, and become something to be reperformed and reinterpreted by others, like the script of a play or a musical score?

Seven nights of performances in the dizzying Guggenheim rotunda later, the answer is an obvious ‘Yes’. Abramovic’s pristinely-produced and highly respectful reconstructions showed that performance art can share in the grandeur and canonical weight of other performing arts, and this achievement may end up being her most important legacy. But whether performance art should be treated this way – scripted, heavily administered, and under constant threat of comparison with an original – remains unclear. Mountains and ocean and sheep, oh my!: 2011-07-10. Blood, semen and tears: why artists are obsessed with using their bodily fluids | Art and design. Art made with bodily fluids appears the essence of the weirdly and wonderfully new. Artist Rose-Lynn Fisher, for instance, has just made a series of landscape images using what she claims are 100 varieties of tears – revealing the difference between tears of sorrow and tears caused by chopping onions, and many other instances of weeping.

Well, if you cry easily, you may as well get some art out it, I suppose. This tearful art joins with outpourings of piss – most famously Andres Serrano's Piss Christ – and ejaculations of semen like Vito Acconci's Seedbed (who masturbated for eight hours) in the copious archive of body fluid art. Another artist who has used semen is Antony Gormley, while Matthew Barney extrudes all kinds of strange stuff in The Cremaster Trilogy, most of it probably synthetic but we can't be sure. Yet the power of bodily fluids is no modern discovery. In ancient Maya art, we see depictions of bloodletting rituals that were central to the Maya religion. Art criticism has become too fawning – time for a best hatchet job award? | Jonathan Jones. The Hatchet Job of the Year prize rewards brutal book reviews. The organisers have just announced their second shortlist, including nasty reviews of authors including Salman Rushdie and AN Wilson.

This innovation in literary criticism is impressive – and should be imitated by the art world. Someone out there should offer an annual prize for the most lethal review of an art exhibition, because art reviews are getting way too polite. The sad death of Robert Hughes last year robbed art criticism in the English language of a courageous voice. Hughes was eloquent, honest, and did not care what artists, dealers and curators thought of him. One artist responded to his reviews by spreading libels, so Hughes simply published the libel himself and faced the artist down.

The gory details can be enjoyed in his book of essays Nothing If Not Critical, which any aspiring critic should read at least 10 times. The years of the British art boom have led to art criticism becoming ever more cosy. Gormley to Hirst: today's top artists on the genius of Henry Moore | Art and design. Anita Feldman, curator In putting together a show that says something about Moore's legacy I looked less at those works he is most famous for, and instead asked what innovations he has contributed that have really made a difference to the history of sculpture and that other artists have been influenced by, or have gone on to develop.

You think of his work made for landscapes, his interest in the relationship between the body and the land and the way that the body resembles the geological formations of the earth. You also think of his 60-year exploration of internal and external space. Before Moore, especially in Britain, it is hard to think of anyone who was dealing with that kind of sculptural vocabulary, but today it has become a pivotal sculptural idea and most of the works by other artists in this show explore it in some way. Damien Hirst literally opens up animals and shows you what is inside. Antony Gormley Like everyone else, I came across him at school. Richard Deacon Tony Cragg. The British Avant-Garde: A Philosophical Analysis. Much of contemporary art, as many have noted, has posed a challenge to much of traditional philosophical aesthetic analysis.

British Avant-Garde art is no exception. This paper will argue that the "British Avant-Garde" art is best understood in terms of Wittgenstein’s concept of "seeing-as,"(1) and will also point out that the artists and their critics often implicitly or explicitly use Wittgenstein’s concept of seeing-as in describing their work. A recent article in Art News discusses the British Avant-Garde artists in terms of their "ruling out nothing.

"(6) It discusses grass roots initiatives such as the 1988 "Freeze" show organized by Damien Hirst, and that of Simon Patterson, who warps diagrams, e.g., replacing the names of train stops on London Underground maps with those of philosophers, and others. In order to discuss some of these artists and their art in terms of Wittgenstein’s concept of seeing-as, I must first analyze his concept. Surveillance art - Artist Sameh Al Tawil official website. Di-Egy Fest 0.1 Conference 2013 CR13 International Research Conference In The Series Of Consciousness Reframed: Art And Consciousness In The Post- Biological Era The influences of communication technology on the concept of privacy and it’s reflection on New Media-Art By Sameh AL Tawil, independent Media Artist and art critic, specializing in Media art. He is a graduate of ADBK Munich, Germany, Master study in Media Art Histories in Donau university, in Krems, Austria From the aroma of time and up till now, the issue of penetrating public privacy preoccupy human in general, and the governments in particular, having the desire to know what is going on in people’s minds and controlling on the ways of transferring information that belongs to them and to the others around them.

In the presence of the desire to achieve the initiative, the governments encouraged the specialized companies to develop sound means of transport and a means for transferring pictures and videos in the real time. Mona Hatoum Artists. Mona Hatoum’s poetic and political oeuvre is realised in a diverse and often unconventional range of media, including installations, sculpture, video, photography and works on paper. Hatoum started her career making visceral video and performance work in the 1980s that focused with great intensity on the body. Since the beginning of the 1990s, her work moved increasingly towards large-scale installations that aim to engage the viewer in conflicting emotions of desire and revulsion, fear and fascination.

In her singular sculptures, Hatoum has transformed familiar, every-day, domestic objects such as chairs, cots and kitchen utensils into things foreign, threatening and dangerous. Even the human body is rendered strange in works such as 'Corps étranger' (1994) or ‘Deep Throat’ (1996), installations that use endoscopic journeys through the interior landscape of the artist’s own body.

Does Tracey Emin’s bed still have the power to shock? The 100 greatest IDM tracks (#100-51) 20 essential records from the '70s free jazz underground. Expressionismus - handgemalte Ölbild-Reproduktionen. The love & hate of portraits in Vienna 1900 | Malwina Chabocka. Post-expressionism. Lyrical abstraction. Minimalism (visual arts) Nouveau réalisme.

Monoskop. Postmodernidad. Gérard RANCINAN - Photography. Jeff Koons estrena hoy su primera obra de arte digital | The Creators Project. Fluchy & chello comics, números 7 y 8, kalime c - Comprar Comics otras Editoriales Actuales en todocoleccion - 43320272. Sexe i cinema d'autor: això no és porno – Cine – Time Out Barcelona. Piscinas para practicar natación en Barcelona. Make: Wearable Electronics: Design, prototype, and wear your own interactive garments: Kate Hartman: 9781449336516: Books. Programming Arduino Next Steps: Going Further with Sketches (Tab) (9780071830256): Simon Monk: Books.