In Kepler's Gardens

Total Page:16

File Type:pdf, Size:1020Kb

In Kepler's Gardens In Kepler’s Gardens A global journey mapping the ‘new’ world Edited by Gerfried Stocker / Christine Schöpf / Hannes Leopoldseder Ars Electronica 2020 Festival for Art, Technology, and Society September 9 — 13, 2020 Ars Electronica, Linz Editors: Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker Editing: Veronika Liebl, Anna Grubauer, Maria Koller, Alexander Wöran Translations: German — English: Douglas Deitemyer, Daniel Benedek Copyediting: Laura Freeburn, Mónica Belevan Graphic design and production: Main layout: Cornelia Prokop, Lunart Werbeagentur Cover: Gerhard Kirchschläger Minion Typeface: IBM Plex Sans PEFC Certified This product is from Printed by: Gutenberg-Werbering Gesellschaft m.b.H., Linz sustainably managed forests and controlled sources Paper: MagnoEN Bulk 1,1 Vol., 115 g/m², 300 g/m² www.pefc.org PEFC Certified © 2020 Ars Electronica PEFC Certified PEFC Certified This product is This product is This product is PEFC Certified © 2020 for the reproduced works by the artists, from sustainably from sustainably from sustainably This product is from managed forests or their legal successors managed forests managed forests sustainably managed and controlled and controlled and controlled forests and controlled sources Published by sources sources sources Hatje Cantz Verlag www.pefc.org www.pefc.org www.pefc.org www.pefc.org Mommsenstrasse 27 10629 Berlin PEFC Certified Germany This product is from www.hatjecantz.com sustainably managed forests and controlled A Ganske Publishing Group company sources www.pefc.org Hatje Cantz books are available internationally at selected bookstores. For more information about our distribution partners please visit our homepage at www.hatjecantz.com ISBN 978-3-7757-4760-8 Myriad Printed in Austria PEFC Certified This product is from Cover illustration: Ars Electronica sustainably managed forests and controlled sources www.pefc.org PEFC Certified PEFC Certified PEFC Certified Minion Myriad Verdana This product is This product is This product is PEFC Certified from sustainably from sustainably from sustainably This product is from managed forests managed forests managed forests sustainably managed and controlled and controlled and controlled forests and controlled sources sources sources sources EN ClimatePartner.com/53401-2678-0009 ClimatePartner.com/53401-2678-0009 ClimatePartner.comClimatePartner.com/53401-2678-0009 / 53401-2007-1026www.pefc.org www.pefc.org www.pefc.org www.pefc.org PEFC Certified This product is from sustainably managed forests and controlled ClimatePartner.com/53401-2678-0009 ClimatePartner.com/53401-2678-0009 ClimatePartner.com/53401-2678-0009 sources www.pefc.org ClimatePartner.com/53401-2678-0009 ClimatePartner.com/53401-2678-0009 ClimatePartner.com/53401-2678-0009 ARS ELECTRONICA 2020 Festival for Art, Technology & Society Organization Press Luckeneder, Melanie Ludwig, Kornelia Maier, Ulrike Mair, Ars Electronica Solutions Ars Electronica Linz GmbH & Co KG Christopher Sonnleitner, Joan Bairam, Robert Bauernhansl, Clemens Mock, Erika Mondria, Horst Morocutti, Claudia Michael Mondria, Michael Kaiser, Andreas Pramböck, Martin Hieslmair, Barbara Hinterleitner, Katia Kreuzhuber, Moser, Silvia Mukherjee, Daniel Murina, Heinrich Nieder- Ina Badics, Chris Bruckmayr, Stefan Dorn, Stefanie Co-CEOs Yazdan Zand huber, Andrea Oberfichtner, Michaela Obermayer, Hana Farkashazy, Michaela Fragner, Yvonne Hauser, Markus Jandl (starting 01.09.2020) Opresnik, Dietmar Peter, Svetlana Petrovic, Katharina Alexander Heilinger, Fadil Kujundzic, Harald Moser, Gerfried Stocker, Marketing Pilar, Armin Pils, Ulrike Rieseneder, Ezan Riza, Clara Roth, Patrick Müller, My Trinh Müller-Gardiner, Robert Pibernig, Diethard Schwarzmair (until 31.08.2020) Katja Bozic, Agnes Peterseil, Eva Tsackmaktsian, Petra Saubolle-Hofmann, Alina Sauter, Birgitt Schäffer, Sabine Sieberer, Dominik Trichlin, Markus Wipplinger, Ars-Electronica-Straße 1, 4040 Linz, Austria Christine Utz Mario Schmidhumer, Sarah Schmidt, Lydia Schneeberger, Karim Zuderell Tel: +4373272720 Fabian Schwarz, Thomas Schwarz, Manfred Seifrieds- Fax: +4373272722 Prix Ars Electronica 2020 berger, Majd Shukair, Magdalena Sick-Leitner, Minoosh Ars Electronica International [email protected] Sorkhkamal Zadeh –Steininger, Martin Spanka, Elisabeth Amanda Augustin, Lea Sophia Bernhard, Hannes Franks, Spöck, Margarethe Stöttner-Breuer, Thomas Straßhofer, Manuela Hillmann, Ruth Köchl, Tanja Lepschi, Nives Idea: Hannes Leopoldseder Co-organizer CyberArts Exhibition Andreas Stürmer, Johannes Stürzlinger, Bhoomesh Tak, Meloni, Julian Schmiederer, Daina Silina, Mauricio Conception: Christine Schöpf, Gerfried Stocker OÖ Landes-Kultur GmbH Michael Thaler, Thomas Viehböck, Raffaela Vornicu, Ernesto Suarez Ramos, Nana Thurner, Alexander Wöran, Managing Director: Martin Honzik Managing Director: Alfred Weidinger Manuel Walch, Florian Wanninger, Gregor Woschitz Yazdan Zand Director of European Cooperation, OK im OÖ Kulturquartier Finance & Organization: Veronika Liebl Artistic Director: Martin Sturm Ars Electronica Futurelab Technical Director: Karl Julian Schmidinger Horst Hörtner, Roland Haring, Hideaki Ogawa, Flavia CYBERARTS Exhibition Team / Co-organizer Kepler Gardens Andessner, Friedrich Bachinger, Sanja Bajakic, Head of Prix Ars Electronica: Emiko Ogawa Johannes Kepler University Linz Florian Berger, Patrick Berger, Alexandre Bezri, OÖ Landes-Kultur GmbH: Rector: Meinhard Lukas Kerstin Blätterbinder, Birgit Cakir, Arno Deutschbauer, Production Team: Victoria Absmann, Christl Baur, Genoveva Rückert, Andreas Kurz, Maria Venzl, Manuel Dobusch, Samuel Jakob Eckl, Marianne Eisl, Marion Friedl, Jürgen Hagler, Veronika Krenn, Andrea Martina Rauschmayer, Marlies Stöger Co-organizer Campus Stephan Feichter, Peter Freudling, Matthew Gardiner, Kohut, Katharina Kolar, Kristina Maurer, Hans Christian University of Art and Design Linz Vanessa Graf, Barbara Habringer, Peter Holzkorn, Kyoko Merten, Manuela Naveau, Christina Radner, Jutta OK Night & Streaming: Rector: Brigitte Hütter Kunoh, Anna Kuthan, Elisabeth Luger, Maria Mayr, Schmiederer, Karla Spiluttini, Nana Thurner, Joschi Viteka Markus Reindl, Jarno Bachheimer Stefan Mittlböck-Jungwirth-Fohringer, Otto Naderer, Production Team: Katharina Baldinger-Hackl, Alfred Artistic Director: Gerfried Stocker Nicolas Naveau, Ali Nikrang, Maria Anna Pfeifer, Johannes Fürholzer, Martin Haselsteiner, David Kraxberger, Managing Director: Martin Honzik Ars Electronica Linz GmbH & Co KG Pöll, Daniel Rammer, Erwin Reitböck, Clemens Fran- Bernhard Kitzmüller, Franz Quirchtmayr, Felix Pöch- Director of European Cooperation, cis Scharfen, Raphael Elias Schaumburg-Lippe, Simon hacker, Aron Rynda, Andreas Steindl, André Tschinder, Veronika Liebl Schmid, Yoko Shimizu, Susanne Teufelauer, Georgios Finance & Organization: Co-CEOs Hans-Jörg Weidinger, Simon Wilhelm, Gerhard Technical Director: Karl Julian Schmidinger Markus Jandl (starting 1.9.2020), Gerfried Stocker, Tsampounaris, Julian Zauner Wörnhörer Diethard Schwarzmair (until 31.08.2020) Head of Festival: Christl Baur Ars Electronica Festival / Prix / Exhibitions Head of create your world: Hans Christian Merten Martin Honzik, Veronika Christina Liebl, Karl Schmidinger, Ars Electronica Center Kunstuniversität Linz — Universität Andreas Bauer, Christoph Kremer, Hassan Abou- Christl Baur, Florina Costamoling, Marion Friedl, Production Team: Alfadel, Sahel Ahmadzai, Viktoria Aistleitner, Sonja Bailer, Jessica Galirow, Anna Grubauer, Ferenc Hirt, Isabella für künstlerische und industrielle Gestaltung Lea Sophia Bernhard, Hortense Boulais-Ifrene, Michael Joan Bairam, Reinhard Bengesser, Anastasia Bragina, Kartusch, Andrea Kohut, Katharina Maria Kolar, Veronika Rector: Brigitte Hütter Burgstaller, Alexis Carras, Melinda File, Hannes F. Franks, Sarah Brait, Lisa-Maria Brandstötter, Manuela Bruckner, Sanna Krenn, Kristina Maurer, Hans Christian Merten, Vice-Rectors: Erik Aigner, Karin Harasser, Frank Louis Petra Freimund, Marion Friedl, Jessica Galirow, Nils Gal- Esma Cingi, Julia Croton, Moritz Danner, Shirin Darwish, Manuela Naveau, Andrew Newman, Emiko Ogawa, Team: Christa Sommerer, Manuela Naveau, Sylvia list, Anna Grubauer, Jürgen Hagler, Randolf Helmstet- Aline Darwish, Blanka Denkmaier, Reinhart Ebner, Erika Christina Radner, Michael Samhaber, Karla Spiluttini, Leitner, Davide Bevilacqua, Julia Nüßlein, Fabricio ter, Markus Hillebrandt, Manuela Hillmann, Ferenc Hirt, Eiter, Lilly Ensinger, Amir-Ali Eshghi, Julia Felberbauer, Laura Welzenbach, Carla Milena Zamora Campos Lamoncha, Enrique Tomás, Gloria Meynen, Tina Frank, Isabella Kartusch, Ruth Köchl, Andrea Kohut, Katharina Katrin Fenninger, Melinda File, Andrea Fröhlich, Philipp Sander Hofstee, Irene Posch, Anne Nigten, Sofia Braga, Kolar, Maria Koller, Veronika Sanna Krenn, Tanja Lepschi, Gartlehner, Mitra Gazvini-Zateh, Elisabeth Gerhard, Firas Ars Electronica Management Services Franz Linimayr, Ewald Haider, Markus Decker, Alfred Kristina Maurer, Nives Meloni, Manuela Naveau, Andrew Ghilan, Dominic Gottinger, Marlene Grinner, Melanie Elisabeth Kapeller, Markus Jandl, Isabella Albel-Feicht, Wollersberger, Christian Forstner, Julia Gschwendtner, Newman, Michaela Obermayer, Emiko Ogawa, Benja- Gruber, Nicole Grüneis, Thu Trang Eva Ha, Harald Haas, Robert Bauernhansl, Patrick Buchinger, Barbara Diesen- Eva Fostl min Pittertschatscher, Christina Radner, Marco Rainer, Birgit Hartinger, Alexandra Heiligenbrunner, Danny reither, Johannes Egler, Michaela Frech, Anton Grünwald Dallas Rockvam, Michael Samhaber, Michael
Recommended publications
  • Color Palette Typography Header 1 Navigation Imagery Logo
    Color Palette Logo Icons Background Brand/Highlight Highlight Highlight Dates Page/ Restaurant Bar Coffee Movies The Arts Music Sports /Text Date on date (location tag) (location tag) (location tag) (location tag) (location tag) (location tag) (location tag) /Text #EDEDED #F1D7CA plan page #6A42ED #FFFFFF Outdoors Time Location (location tag) (Date plan page) (Date plan page) Text Text Text #DDDDDD #AAAAAA #000000 Buttons/Links Typography Navigation Button Button Ready to go on a date? Open drop down menu Close drop down menu Source Serif Pro, s: 36, Bold Header 1 4 1 Inactive primary CTA Secondary CTA Enable “Set Up a Date” Feature Private until you both have enabled Button Button IBM Plex Sans, s: 30, Semi-Bold Header 2 Popup with the Enable a date Bottom navigation menu feature on the match chat page Inactive toggle state Active toggle state Primary CTA Tertiary CTA and Filters (enable setup feature) (enable setup feature) IBM Plex Sans, s: 21, Semi-Bold Header 3 Activity Price Rating April Source Serif Pro, s: 24, Bold Subheader 1 Who do you want to date? Who do you want to date? Recommended Filters (expanded) S M T W T F S Select a Match Erin Matthews New Spots IBM Plex Sans, s: 18, Semi-Bold Subheader 2 1 2 3 4 Upcoming Events Setup a Date Buttons (nothing Setup a Date Buttons (selection Close button (used for popout selected made) screens) Get a Drink IBM Plex Sans, s: 15, Semi-Bold Subheader 3 5 6 7 8 9 10 11 Get some Food 12 13 14 15 16 17 18 IBM Plex Sans, s: 24, Semi-Bold Button 1 See a Movie Add Add 19 20 21 22 23 24 25 Get Outside Add button for set up a date Add button for set up a date Location selector on Location selector on IBM Plex Sans, s: 13, Semi-Bold Button 2 Back button 26 27 28 29 30 Sports options (inactive) options (active) map view (current) map view (not-current) Listen to Music IBM Plex Sans, s: 9, Medium Button 3 May Add 6:00 PM 6:00 PM S M T W T F S IBM Plex Sans, s: 14, Medium Body 1 Setup a date button (selected Setup a date button This is an example of a body text paragraph.
    [Show full text]
  • Concert of Hellenic Association of Electroacoustic Music Composers Anechoic Pulse
    Concert of Hellenic Association of Electroacoustic Music Composers Anechoic Pulse - Panagiotis Kokoras 9:44 De Ligno Chalybeque - Konstantinos Karathanasis 9:40 Rites of Passage- Stylianos Giannoylakis 7:30 Polychoron- Nikos Stauropoulos 9:14 Instant of a crystal glass - Theodore Lotis 9:14 Curator: Katerina Tzedaki Anechoic Pulse, (2003-2004), 09:40 The life of the piece began in York, England in August 2003, where most of the sound material recorded at the anechoic chamber at the University of York. A couple of months later I returned back to Greece after a long stay in England and I restarted to work on the material at my personal home studio. However, a new move stopped me again from its development. Finally, everything came together one year later during the summer of 2004 where the piece finished at the Mastering Studio of the Department of Music Technology and Acoustics in Rethimno, Crete. Having the luxury to work without deadlines and on a non real-time environment I tried to refine and control the finniest sound detail. I tried to create a kind of virtuosity of the medium. The sound material, not easily recognized most of the time, undergoes a rather simple transformation in terms of sound processing using editing tools such as hard-limiting, maximizers, cut n paste, dynamic envelope changes, time stretches, and binaural spatialization. The piece ends with a pulse drone created with tiny strokes of a metallic stick on a 19 inches timpani. The work is dedicated to the composer Sungji Hong. - Panayiotis Kokoras, Rethimno August 2004. This piece was awarded First Prize at the international electroacoustic composition competition Musica Viva 2005 in Lisbon, Portugal.
    [Show full text]
  • Sveučilište U Rijeci Filozofski Fakultet U Rijeci Odsjek Za
    SVEUČILIŠTE U RIJECI FILOZOFSKI FAKULTET U RIJECI ODSJEK ZA KULTURALNE STUDIJE PLAN I PROGRAM SVEUČILIŠNOGA DIPLOMSKOGA JEDNOPREDMETNOG STUDIJA „KULTUROLOGIJA“ Datum inicijalne akreditacije studijskoga programa: lipanj 2005. Datum posljednje izmjene i dopune studijskoga programa: travanj 2017. Mjesto: Rijeka Kazalo Obrazac za izmjene i dopune studijskoga programa kulturologija …………………..….1 Popis predmeta studijskoga programa kulturologija …………………………………….3 Opis predmeta studijskoga programa kulturologija ……………………………………..6 Sveučilište u Rijeci • University of Rijeka Trg braće Mažuranića 10 • 51 000 Rijeka • Croatia T: (051) 406-500 • F: (051) 216-671; 216-091 W: www.uniri.hr • E: [email protected] OBRAZAC ZA IZMJENE I DOPUNE STUDIJSKIH PROGRAMA Opće informacije Naziv studijskog programa Sveučilišni diplomski studij kulturologije Nositelj studijskog programa Filozofski fakultet u Rijeci Izvoditelj studijskog programa Odsjek za kulturalne studije Tip studijskog programa Sveučilišni Razina studijskog programa Diplomski Akademski/stručni naziv koji se stječe Magistar/magistra kulturologije završetkom studija Naziv i šifra standarda kvalifikacije koja se stječe završetkom studija (ako je program upisan u Registar HKO-a) 1. Vrsta izmjena i dopuna 1.1. Vrsta izmjena i dopuna koje se predlažu Objedinjavanje postojećih modula u jedan cjeloviti program. 1.2. Postotak ECTS bodova koji se mijenjaju predloženim izmjenama i dopunama Navedene izmjene ne ulaze u postotak promjene ECTS-a na programu. 1.3. Postotak ECTS bodova koji je izmijenjen tijekom ranijih postupka izmjena i dopuna u odnosu na izvorno akreditirani studijski program 2. Obrazloženje zahtjeva za izmjenama i dopunama 2.1. Razlozi i obrazloženje izmjena i dopuna studijskog programa Objedinjavanje modula u jedan cjeloviti program u kojem je status svih predmeta izborni, osim predmeta Individualne mentorske konzultacije i izrada diplomskog rada (III.
    [Show full text]
  • Bernard Fleetwood-Walker (1893-1965) By
    The Social, Political and Economic Determinants of a Modern Portrait Artist: Bernard Fleetwood-Walker (1893-1965) by MARIE CONSIDINE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham April 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT As the first major study of the portrait artist Bernard Fleetwood-Walker (1893- 1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant- garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits.
    [Show full text]
  • Ars Electronica Selection 2015 (Call for Acousmatic Works) 22 & 23 May
    Ars Electronica Selection 2015 (Call for acousmatic works) Marc Ainger - Shatter Alfredo Ardia – Uno Marie-Hélène Breault and Martin Bédard - Replica Alfredo Ardia – Due Marc Ainger is a sound artist and composer whose work has Marie-Hélène Breault been performed throughout the world, including the Alfredo Ardia Very active in the interpretation of contemporary music, flutist American Film Institute, the KlangArts festival, Gageego New Class 1989, I studied at LEMS (Pesaro, IT) and at CMT Marie-Hélène Breault occurred with the Contemporary Music Music Ensemble, Guangdong Modern Dance, the (Helsinki, FI). My work is focused on sound and its relation Society of Quebec (SMCQ), the Ensemble contemporain de Royal Danish Ballet, Streb, the New Circus, and Late Night and interaction with other elements in the audio-video, Montreal (ECM) and in the many events of Innovations en with David Letterman. Awards include the Boulez/LA performance and sound art fields, aimed to a language concert, codes d’accès and Jeunesses musicales du Canada. Philharmonic Composition Fellowship, the Irino International encoding. I am interested in equilibrium, synchronism and its She has given concerts abroad and has participated in several Chamber Music Competition, Musica Nova, Meet the perception, and inspired by the beauty of the physics of creations of Canadian and international composers. Since Composer, the Esperia Foundation, and the Ohio Arts Council. waves. September 2008 she is the artistic director of Error Type 27 As a sound designer he has worked with the Los (E27), an organization dedicated to contemporary art in the Angeles Philharmonic, the Olympic Arts Festival, Pacific Coast Processi region of Quebec (Canada).
    [Show full text]
  • MIT Japan Program Working Paper 01.10 the GLOBAL COMMERCIAL
    MIT Japan Program Working Paper 01.10 THE GLOBAL COMMERCIAL SPACE LAUNCH INDUSTRY: JAPAN IN COMPARATIVE PERSPECTIVE Saadia M. Pekkanen Assistant Professor Department of Political Science Middlebury College Middlebury, VT 05753 [email protected] I am grateful to Marco Caceres, Senior Analyst and Director of Space Studies, Teal Group Corporation; Mark Coleman, Chemical Propulsion Information Agency (CPIA), Johns Hopkins University; and Takashi Ishii, General Manager, Space Division, The Society of Japanese Aerospace Companies (SJAC), Tokyo, for providing basic information concerning launch vehicles. I also thank Richard Samuels and Robert Pekkanen for their encouragement and comments. Finally, I thank Kartik Raj for his excellent research assistance. Financial suppport for the Japan portion of this project was provided graciously through a Postdoctoral Fellowship at the Harvard Academy of International and Area Studies. MIT Japan Program Working Paper Series 01.10 Center for International Studies Massachusetts Institute of Technology Room E38-7th Floor Cambridge, MA 02139 Phone: 617-252-1483 Fax: 617-258-7432 Date of Publication: July 16, 2001 © MIT Japan Program Introduction Japan has been seriously attempting to break into the commercial space launch vehicles industry since at least the mid 1970s. Yet very little is known about this story, and about the politics and perceptions that are continuing to drive Japanese efforts despite many outright failures in the indigenization of the industry. This story, therefore, is important not just because of the widespread economic and technological merits of the space launch vehicles sector which are considerable. It is also important because it speaks directly to the ongoing debates about the Japanese developmental state and, contrary to the new wisdom in light of Japan's recession, the continuation of its high technology policy as a whole.
    [Show full text]
  • 05/31/2017 Taylor County Acctpa21 Time: 16:10:10 Check Register − Disbursement Fund
    PAGE NUMBER: 1 DATE: 05/31/2017 TAYLOR COUNTY ACCTPA21 TIME: 16:10:10 CHECK REGISTER − DISBURSEMENT FUND SELECTION CRITERIA: transact.ck_date between ’20170501 00:00:00.000’ and ’20170531 00:00:00.000’ ACCOUNTING PERIOD: 8/17 FUND − 411 − GENERAL CLEARING CASH ACCT CHECK NO ISSUE DT VENDOR NAME DEPARTMENT −−−−−DESCRIPTION−−−−−− SALES TAX AMOUNT 1001 1015498 05/02/17 1671 A−1 VACUUMS 6570 WINSOR REPAIR 0.00 45.00 1001 1015499 05/02/17 4178 BRANDON ABBOTT 6010 DAYTON 0.00 76.00 1001 1015500 05/02/17 2088 ABERCROMBIE PEST CONTROL 3075 PEST CNTRL SRV 0.00 45.00 1001 1015501 05/02/17 1063 ABILENE AUTO GLASS 6010 14−17 TAHOE 0.00 389.00 1001 1015502 05/02/17 1709 ABILENE DIAGNOSTIC, PLLC 7010 VARIOUS PEOPLE 0.00 177.89 1001 1015503 05/02/17 2170 ABILENE GENERAL TIRE CO. 5400 FLT RPR,TIRE SEALNT 0.00 47.50 1001 1015504 05/02/17 2021 ABILENE HYDRAULICS, LLC 5300 HYD CYLNDR RPR 0.00 180.00 1001 1015505 05/02/17 1087 BMC ABILENE LUMBER 5015 2X6 0.00 131.66 1001 1015506 05/02/17 1089 ABILENE MAINTENANCE SUPP 6570 FILTERS 0.00 94.00 1001 1015506 05/02/17 1089 ABILENE MAINTENANCE SUPP 6570 TISSUE,TWL,LNR,GLOVES 0.00 241.60 TOTAL CHECK 0.00 335.60 1001 1015507 05/02/17 1097 APSCO 6550 VALVE KIT,PVC,HOSE 0.00 70.78 1001 1015507 05/02/17 1097 APSCO 6550 TEE,BUSHING,GLUE 0.00 290.63 1001 1015507 05/02/17 1097 APSCO 5030 TEE,FAUCET,COUP 0.00 141.43 1001 1015507 05/02/17 1097 APSCO 5030 ANGLE STOP, NIPPLE 0.00 28.86 1001 1015507 05/02/17 1097 APSCO 6550 BUSHING 0.00 85.37 1001 1015507 05/02/17 1097 APSCO 6550 UNION,MIP,TUBING 0.00 117.54 1001 1015507 05/02/17
    [Show full text]
  • Surrealism and Psychoanalysis in the Work of Grace Pailthorpe and Reuben Mednikoff
    Surrealism and Psychoanalysis in the work of Grace Pailthorpe and Reuben Mednikoff: 1935-1940 Lee Ann Montanaro Ph.D. History of Art The University of Edinburgh 2010 Declaration I hereby declare that this thesis is my own work and has not been submitted for any other degree or professional qualification except as specified. ABSTRACT The story of the collaboration between the psychoanalyst Dr Grace Pailthorpe and the artist Reuben Mednikoff is indeed an extraordinary one. The aim of this thesis is to throw light upon their joint research project between 1935, when they first met, and 1940, when they were expelled from the British Surrealist group with which they had been closely involved since its official launch in 1936. The project that Pailthorpe and Mednikoff plunged into just days after they first met in February 1935 focused on how art could be used as a way of curing mental problems. Paintings and drawings produced ‘automatically’ were used as a means to bring memories to a conscious level. Many personal tensions, obsessions and fears that had lain dormant and repressed were released and detailed commentaries and explanations followed every work they produced in order for the exercise to be fully therapeutic. The aim was to externalise the unconscious and reintegrate it with the conscious. Despite the fact that Pailthorpe’s work was hailed as ‘the best and most truly Surrealist’ by the leader of the Surrealist movement, André Breton, at the 1936 International Surrealist exhibition in London, which brought the movement to Britain, the couple were expelled from the British Surrealist group just four years later and moved to America into relative obscurity.
    [Show full text]
  • Typographers'
    TUGboat, Volume 39 (2018), No. 1 17 Typographers’ Inn Peter Flynn Fonts and faces and families I suppose we’ve all but given up the unequal strug- gle to distinguish between a family, a face, and a font. I still use the terms separately, out of force of habit, but some work we were doing recently (see ‘X LE ATEX’ below) allowed me to identify many good examples. One family I installed recently (following its announcement on comp.text.tex) was IBM Plex, which is composed of these faces: 1. Plex Serif 12. Plex Sans SemiBold Figure 1: IBM Plex in action 2. Plex Serif ExtraLight 13. Plex Sans Text 3. Plex Serif Light 14. Plex Sans Thin 4. Plex Serif Medium 15. Plex Mono 5. Plex Serif SemiBold 16. Plex Mono ExtraLight 6. Plex Serif Text 17. Plex Mono Light ports. maybe four if we include theses) it’s usually 7. Plex Serif Thin 18. Plex Mono Medium much more important that the choice of typeface 8. Plex Sans 19. Plex Mono SemiBold remains unnoticed. It’s not that the choice is unim- 9. Plex Sans ExtraLight 20. Plex Mono Text portant, but that it’s more subtle than just choosing 10. Plex Sans Light 21. Plex Mono Thin a ‘font’ that you like the look of, although that is 11. Plex Sans Medium obviously part of the decision. In the days of metal type, even the largest print- I numbered them on a slide for a training course ers would have had only a tiny fraction of the type- so that the students could see the seven serif, seven faces available to the average computer user today: sans, and seven monospace components — and with a designer specifying a face not on hand would have luck, understand the distinction — before explaining had to cost-justify the rental of the matrices needed that each one came in the four standard font variants: to cast it, or (in smaller houses) buying sorts in regular, bold, italic, and bold-italic; making 84 in all.
    [Show full text]
  • <> CRONOLOGIA DE LOS SATÉLITES ARTIFICIALES DE LA
    1 SATELITES ARTIFICIALES. Capítulo 5º Subcap. 10 <> CRONOLOGIA DE LOS SATÉLITES ARTIFICIALES DE LA TIERRA. Esta es una relación cronológica de todos los lanzamientos de satélites artificiales de nuestro planeta, con independencia de su éxito o fracaso, tanto en el disparo como en órbita. Significa pues que muchos de ellos no han alcanzado el espacio y fueron destruidos. Se señala en primer lugar (a la izquierda) su nombre, seguido de la fecha del lanzamiento, el país al que pertenece el satélite (que puede ser otro distinto al que lo lanza) y el tipo de satélite; este último aspecto podría no corresponderse en exactitud dado que algunos son de finalidad múltiple. En los lanzamientos múltiples, cada satélite figura separado (salvo en los casos de fracaso, en que no llegan a separarse) pero naturalmente en la misma fecha y juntos. NO ESTÁN incluidos los llevados en vuelos tripulados, si bien se citan en el programa de satélites correspondiente y en el capítulo de “Cronología general de lanzamientos”. .SATÉLITE Fecha País Tipo SPUTNIK F1 15.05.1957 URSS Experimental o tecnológico SPUTNIK F2 21.08.1957 URSS Experimental o tecnológico SPUTNIK 01 04.10.1957 URSS Experimental o tecnológico SPUTNIK 02 03.11.1957 URSS Científico VANGUARD-1A 06.12.1957 USA Experimental o tecnológico EXPLORER 01 31.01.1958 USA Científico VANGUARD-1B 05.02.1958 USA Experimental o tecnológico EXPLORER 02 05.03.1958 USA Científico VANGUARD-1 17.03.1958 USA Experimental o tecnológico EXPLORER 03 26.03.1958 USA Científico SPUTNIK D1 27.04.1958 URSS Geodésico VANGUARD-2A
    [Show full text]
  • Working Ontologists” and “High-­Quality Human Components”: the Politics of Semantic Infrastructures 326 Doris Allhutter
    © 2019 Princeton University Press. The material is protected by copyright and its reproduction is restricted by law, except that you may download each available chapter and copy, redistribute the material in any medium or format for personal use, educational, and non-commercial purposes only, provided that you give appropriate credit to Princeton University Press. digitalSTS A Field Guide for Science & Technology Studies EDITED BY Janet Vertesi & David Ribes CO-EDITED BY Carl DiSalvo Laura Forlano Steven J. Jackson Yanni Loukissas Daniela K. Rosner Hanna Rose Shell PRINCETON UNIVERSITY PRESS / PRINCETON & OXFORD © 2019 Princeton University Press. The material is protected by copyright and its reproduction is restricted by law, except that you may download each available chapter and copy, redistribute the material in any medium or format for personal use, educational, and non-commercial purposes only, provided that you give appropriate credit to Princeton University Press. Copyright © 2019 by Princeton University Press Requests for permission to reproduce material from this work should be sent to [email protected] Published by Princeton University Press 41 William Street, Princeton, New Jersey 08540 6 Oxford Street, Woodstock, Oxfordshire OX20 1TR press.princeton.edu All Rights Reserved LCCN 2018955221 ISBN 978- 0- 691- 18707- 5 ISBN (pbk.) 978- 0- 691- 18708- 2 British Library Cataloging- in- Publication Data is available Editorial: Eric Crahan, Pamela Weidman, Kristin Zodrow Production Editorial: Terri O’Prey Production: Jacquie Poirier Publicity: Alyssa Sanford, Julia Hall Copyeditor: Joseph Dahm This book has been composed in IBM Plex Serif Printed on acid- free paper. ∞ Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 © 2019 Princeton University Press.
    [Show full text]
  • Nycemf 2021 Program Book
    NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ VIRTUAL ONLINE FESTIVAL __ www.nycemf.org CONTENTS DIRECTOR’S WELCOME 3 STEERING COMMITTEE 3 REVIEWING 6 PAPERS 7 WORKSHOPS 9 CONCERTS 10 INSTALLATIONS 51 BIOGRAPHIES 53 DIRECTOR’S NYCEMF 2021 WELCOME STEERING COMMITTEE Welcome to NYCEMF 2021. After a year of having Ioannis Andriotis, composer and audio engineer. virtually all live music in New York City and elsewhere https://www.andriotismusic.com/ completely shut down due to the coronavirus pandemic, we decided that we still wanted to provide an outlet to all Angelo Bello, composer. https://angelobello.net the composers who have continued to write music during this time. That is why we decided to plan another virtual Nathan Bowen, composer, Professor at Moorpark electroacoustic music festival for this year. Last year, College (http://nb23.com/blog/) after having planned a live festival, we had to cancel it and put on everything virtually; this year, we planned to George Brunner, composer, Director of Music go virtual from the start. We hope to be able to resume Technology, Brooklyn College C.U.N.Y. our live concerts in 2022. Daniel Fine, composer, New York City The limitations of a virtual festival meant that we could plan only to do events that could be done through the Travis Garrison, composer, Music Technology faculty at internet. Only stereo music could be played, and only the University of Central Missouri online installations could work. Paper sessions and (http://www.travisgarrison.com) workshops could be done through applications like zoom. We hope to be able to do all of these things in Doug Geers, composer, Professor of Music at Brooklyn person next year, and to resume concerts in full surround College sound.
    [Show full text]