Vintage Soviet Posters & Propaganda Moor, Dimitri.1st of May - A Festival of Labor, 1920 Moor, Dimitri. Cossack - Who are you with, them or us?, 1920 The VIPP Shelter / VIPP Architects: VIPP Location: Denmark Chief Designer: Morten Bo Jensen Area: 55.0 sqm Year: 2014 Photographs: Courtesy of VIPP Heating: Fireplace (Spartherm, Various 2L-100h-4S), corner glass. Ventilation: Mechanical ventilation Water: 120 liter hot water tank. Insulation: 250mm glass wool acc. building usually meant for vacation homes. Protan folio mounted underneath the metal facade / roof.
Suppressed Technology 'Lost Lightning: The Missing Secrets of Nikola Tesla' - Full Film Home | About Us | Contact | Subscribe 'Lost Lightning: The Missing Secrets ofNikola Tesla' - Full Film Phenomenon: The Lost Archives We Sting U ForbiddenKnowledgeTV Alexandra Bruce August 6, 2013 This is a seldom-seen and excellent documentary about Nikola Tesla produced in 1998. Mathematically Precise Kinetic Sculptures and Transformable Objects by John Edmark If you enjoyed John Edmark’s trippy 3D-printed zoetrope sculptures last week, you might also enjoy some of his kinetic sculptures that rely on excruciatingly precise laser-cut wood and internal mechanisms to create optical illusions and other unexpected behaviors. Edmark describes these as “instruments that amplify our awareness of the sometimes tenuous relationship between facts and perception.” Here are three of my favorites, but you can see many more on his Vimeo page.
// WIPE CYCLE [ index | 1970 ] Wipe Cycle (1969)Unlike Levine's work, the effect of Wipe Cycle, by the young New York artists Frank Gillette and Ira Schneider, was to integrate the viewer and his local environment into the larger macrosystem of information transmission. Wipe Cycle was first exhibited at the Howard Wise Gallery in New York in 1969 ("TV as a Creative Medium"). It consisted of nine monitors whose displays were controlled by synchronized cycle patterns of live and delayed feedback, broadcast television, and taped programming shot by Gillette and Schneider with portable equipment. These were displayed through alternations of four programmed pulse signals every two, four, eight, and sixteen seconds. Separately, each of the cycles acted as a layer of video information, while all four levels in concert determined the overall composition of the work at any given moment.
ikeduende.com Tamayo on Ikebana Ikebana is not just about flower arranging. Through the act of ikebana, you become involved in the process of terminating the life of a botanical creature, of discovering the beauty, mystery and power of plants, and the variety of possible outcomes is simply enormous! By creating a momentary art piece, ikebana instills in us a positive attitude, a fortitude and an ability to concentrate deeply. This is one way to enrich our lifestyle. fcb studios installs the first 'observatory' mobile artist residence feb 16, 2015 fcb studios installs the first 'observatory' mobile artist residence fcb studios installs the first ‘observatory’ mobile artist residenceimage © feilden clegg bradley studios exterior viewimage © feilden clegg bradley studios each structure can rotate 360-degrees from a crank wheel on the interior- it takes about 6 minutes for a full rotation.image © feilden clegg bradley studios open entrances put the artist in constant connection to the exterior landscapeimage © feilden clegg bradley studios
The Best Documentaries of 2011 Note: This chart was updated in February 2012. View the updated post » What was the best documentary of 2011? That depends on who you ask, of course. If you go by the top documentary festivals, critics’ circles, vote aggregators and other awards-giving organizations, you could have named any one of 68 67 documentaries — from An African Election to Zeitgeist: Moving Forward — and still had at least some support for your decision. Peerless Drawings of Karla Mialynne The artist Karla Mialynne lives and works in the United States. In order to create highly realistic drawings, she uses colored pencils, acrylic paints and markers. Carl puts her illustrations on her Instagram account. Nam June Paik Nam June Paik (1932-2006) Zen For Film (1962-64) Video Tape Study No. 3 (1967-69) Electronic Moon No. 2 (1966-72) Edited for Television (WNET, 1975) Suite 242 (1975)
We are all homeless: The "WE ARE ALL HOMELESS" Project - an introduction This project began in 1993 when I started buying and collecting signs from the homeless. (More on that in the description of the art show HOME?) Over the past few years I have developed art work using the signs, which became focused while I was pursuing an MFA in Arts & Technology at UTDallas. In the Fall 2009 semester we were challenged to develop an art project that would be interventionist in nature, meaning that it would cause some interruption in our daily lives, which resulted in the development of WE ARE ALL HOMELESS. It began as a series of "flash mob happenings," where a few dozen people holding up authentic homeless signs converged on an intersection or other public location (2009-2010).
Teahouse / A1 Architects Architects: David Maštálka / A1 Architects Location: Prague, Czech Republic Client: David Maštálka and Lenka Kremenová Project year: 2008 (35 days) Contractor: Vojtěch Bilišic , scupltor and carpenter (Slovak Republic) Collaborators: Lenka Kremenová, Marta Maštálková, Rudolf Maštálka Dome construction: Jan Bašta Opponency of Diploma Project: Terunobu Fujimori , University of Tokyo Interpreting: Petr Holý, Director of Czech Center in Tokyo Surface Area: 3,75 sqm Construction Area: 7 sqm Photographs: Ester Havlová The Garden At the foot of the hill dividing Hloubetin and Aloisov you’ll find a small garden. The garden is unostentatious, slightly wild but even so graceful, each spring apple and cherry trees blossom and when summer swiftly blows upon us our sight of the passing clouds is surrounded by slim blades of grass. The teahouse as a minimal place to gather Natural material
Norman Holland on Marcel Carné's Children of Paradise A poll of 600 French critics and professionals in 1995 voted this film “Best French Film Ever,” and many surveys since then have dittoed that. Oddly though, this masterpiece of film is almost an anti-movie. It announces itself as theater. When it opens, we hear the three knocks that traditionally announce the beginning of a play in the French theater, and the fake curtain on the screen rises.