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writingplacegym · 3 years

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Today 3rd July 2021 - at 12.55am - Dictionary Letter A -------------------------------------------------------------- 15-letter words that start with a

atherosclerosis anticompetitive autocorrelation anticholinergic acclimatization anthropocentric agranulocytosis aluminosilicate assimilationism archaebacterium adenohypophysis antepenultimate acetophenetidin antivivisection autotransformer acanthocephalan anthropopathism ancylostomiasis ariboflavinosis assertivenesses arteriographies antispeculation apolipoproteins archiepiscopate anthropophagies antiabortionist anticlimactical antieducational antiliberalisms affordabilities ambisexualities amorphousnesses authentications accessibilities acculturational agriculturalist ambitiousnesses amphitheatrical anthropological antimonarchical antiquarianisms antiseparatists arrondissements autobiographies autotransfusion accountableness advisablenesses affectabilities antilibertarian antimaterialism applicabilities astronautically attentivenesses autographically antidevelopment antifashionable antishoplifting apocalyptically apprenticeships atheroscleroses authoritatively automatizations anthropomorphic accountantships aerodynamically autoradiography autotetraploidy aerosolizations agribusinessman algorithmically anagrammatizing antiferromagnet agribusinessmen anonymousnesses antisegregation antituberculous anthropophagous antimaterialist antiradicalisms agranulocytoses azidothymidines accommodational adversarinesses allotetraploids alphabetization alternativeness analyzabilities aromatherapists acknowledgments adenocarcinomas autotrophically associationists archaeopteryxes

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14-letter words that start with a

administration accomplishment aforementioned acknowledgment anesthesiology adenocarcinoma antidepressant apolipoprotein antiarrhythmic anticonvulsant antiperspirant antineoplastic arrondissement adrenocortical antimetabolite apocalypticism aminopeptidase administratrix architectonics azidothymidine automatization archiepiscopal autoradiograph aeroelasticity achondroplasia associationism antiphlogistic abstractionism autosuggestion ammonification antiderivative anthropophagus anticensorship annexationists allopolyploids aggrandizement antiepileptics antihistorical antimanagement antimilitarist appendicectomy approximations anticonvulsive anthropometric antigovernment aphoristically apostrophizing apparentnesses astrobiologist arboricultural ascertainments achromatically actualizations acceleratingly accountability actinomorphies actinomycetous administrating acetifications alliteratively alloantibodies apoplectically apprehensively articulateness astrobiologies abstractedness antepenultimas antiliberalism allopolyploidy ambassadresses anathematizing ankylosauruses affectionately aggressiveness accomplishable accursednesses acknowledgedly anticorrosives antihomosexual antimonarchist antisocialists antitechnology abortivenesses accidentalness accreditations aerodynamicist affectednesses afforestations allelomorphism anagrammatical analphabetisms anaphrodisiacs archaebacteria accommodations apostrophising appreciatively

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13-letter words that start with a

administrator accommodation authoritative advertisement authorization accreditation appropriation autobiography accommodating authoritarian amplification accompaniment assemblywoman approximation antimicrobial antibacterial argumentative apportionment acculturation antipsychotic acrylonitrile acetaminophen acetylcholine argumentation agglomeration accelerometer antisubmarine anthropogenic amniocentesis adventuresome anticoagulant armamentarium antihistamine arteriovenous audiocassette agglutination antiterrorist architectonic aspergillosis archbishopric autochthonous abortifacient antipersonnel aggiornamento amitriptyline anthropometry arteriography anticlockwise archaeopteryx arboriculture archimandrite antispasmodic antinomianism antipollution atherogenesis asthenosphere anthraquinone antiparasitic assistantship antidiarrheal antisymmetric anthroposophy ambidexterity antisatellite autoradiogram anticollision antirejection apprehensible aminophylline adrenalectomy argentiferous autocephalous actinomycosis antifertility autocatalysis aeromechanics agglutinative animadversion anisometropia antilogarithm aminoaciduria anagrammatize autoinfection amphiprostyle archidiaconal affenpinscher anfractuosity antiscorbutic aldosteronism allopolyploid actinomorphic autopolyploid administrated adversenesses aerobiologies agamospermies accommodators acquiescences amusingnesses anachronistic

-------------------------------------------------------------- 12-letter words that start with a

amortization architecture announcement acknowledged appreciation accomplished anticipation acceleration accumulation advantageous authenticity anthropology acquaintance apprehension assimilation articulation astronomical appreciative alphabetical amalgamation astonishment affectionate apprehensive amphitheater asymptomatic afterthought augmentation aromatherapy alphanumeric agribusiness annihilation acquiescence approachable authenticate abbreviation astrophysics angiogenesis antithetical aerodynamics astronautics amelioration annunciation agrochemical arsenopyrite appendicitis alliteration administrate appendectomy acetaldehyde antiaircraft aspirational antimalarial accumulative azathioprine atmospherics augmentative anticlerical aestheticism alliterative adventitious acetonitrile agrichemical artilleryman antiabortion ambidextrous auscultation anthelmintic abolitionism antifeminist alimentation antiparallel agroforestry antediluvian assimilative antipathetic astrobiology axisymmetric autoantibody aesthetician aforethought autorotation antiparticle androcentric atheoretical achlorhydria apperception antineutrino argillaceous antibusiness appurtenance archdeaconry antitakeover aestheticize autoxidation accouterment actinomycete apochromatic appendicular anchorperson appropriable

-------------------------------------------------------------- 11-letter words that start with a

application association appropriate alternative acquisition advertising appointment achievement accordingly arrangement agriculture anniversary accommodate acknowledge advancement approximate accountable atmospheric arbitration accelerator abstraction adolescence affirmation affirmative adventurous archaeology ambivalence aristocracy abnormality attribution associative appreciable aeronautics absenteeism apocalyptic acupuncture adversarial archipelago angioplasty accumulator aerodynamic aftermarket aggravation assemblyman archdiocese allegorical acrimonious antislavery altercation acquisitive anachronism angiography anaesthetic antioxidant assassinate arthroscopy appellation antiquarian appeasement addressable anaesthesia angiotensin alternation abomination astigmatism aphrodisiac antidumping androgynous aerosolized amphetamine amoxicillin aquaculture aboveground approbation affectation anaphylaxis academician anastomosis accompanist ahistorical acclamation anisotropic accessorize agnosticism aspergillus agglomerate acupressure amyloidosis acquiescent adventurism agoraphobia abortionist apologetics advertorial assignation antipoverty antinuclear afterburner antechamber acclimation

-------------------------------------------------------------- 10-letter words that start with a

accounting assessment acceptance assistance attractive appearance absolutely aggressive atmosphere acceptable accessible applicable appreciate anticipate adjustment assumption attendance assignment altogether automation accelerate artificial affordable attraction automotive accountant absorption ambassador accustomed accomplish attachment adaptation autonomous administer automobile archbishop aggression accidental articulate attainment adolescent alteration admiration assortment admittedly allegiance ammunition accumulate anesthesia accordance auditorium apprentice antibiotic aesthetics arithmetic alienation actionable allegation acquainted accusation ambulatory aspiration alcoholism anatomical ambivalent autoimmune assimilate aboriginal anticancer arbitrator asymmetric auctioneer assemblage adrenaline antiquated antagonism anesthetic appendices abstinence authorship antagonist antithesis aberration accomplice astronomer ascendancy abstracted apocalypse apologetic archdeacon antifungal antiseptic amphibious admissible adventurer affliction accentuate aristocrat annotation antebellum

-------------------------------------------------------------- 9-letter words that start with a

available agreement advantage attention authority afternoon assistant assurance affecting automatic aggregate analytics allowance associate alongside attending admission alexander abandoned amendment aerospace apartment architect adventure ambitious appealing anonymous affiliate aesthetic authentic appraisal accompany alternate applicant academics ambulance attribute animation apparatus aftermath affection assertion arbitrary appliance alignment attendant amusement abundance algorithm arthritis ambiguous alcoholic advertise addiction adjoining ancillary alleviate ambiguity athletics adherence avoidance abdominal artillery amplifier appalling ascertain analogous augmented accessory auxiliary adaptable abolition allotment admirable aluminium addictive arrogance antivirus anonymity anomalous advisable accession apologize argentine antitrust apartheid astronomy accretion attentive amplitude appellate anthology agitation assertive avalanche arbitrage anecdotal amazement agreeable arresting

-------------------------------------------------------------- 8-letter words that start with a

although analysis approach actually anything activity advanced addition achieved accepted acquired affected approval audience alliance aircraft anywhere academic accurate assembly argument advisory adequate attitude attached apparent accident accuracy announce absolute adjusted assuming aluminum attorney abstract adjacent aviation artistic advocate appendix athletic autonomy abortion affinity advocacy appetite asserted antibody animated ambition abnormal airborne abundant acoustic assemble allocate adaptive activist affluent antelope analytic activate altitude automate aquarium applause arrogant asbestos annoying adhesive auspices archival adhesion analogue airfield attendee assorted allergic academia alkaline audition armchair additive amenable alphabet arterial airplane activism aromatic anterior avionics almighty abrasive ancestor aperture ancestry aerobics amortize auditory antidote

-------------------------------------------------------------- 7-letter words that start with a

another against already ability average account address achieve applied attempt article advance acquire absence attract assumed airport advised accused anybody ancient analyst adverse arrival academy alleged alcohol assured adviser auction airline assault anxiety arrange anxious approve archive amateur actress abandon appoint arsenal awkward analyze auditor anymore alright athlete antique analogy anytime awesome artwork amusing ashamed amnesty apparel anatomy annuity apology admiral augment acclaim aquatic anomaly agility applaud antigen abusive allergy anguish analyse adjunct audible acrylic abolish ambient arrears abreast ammonia acreage airfare antenna adapter adamant angular abdomen arduous abiding amenity aspirin archaic aerobic asphalt artisan accrual austere algebra anarchy aerosol

-------------------------------------------------------------- 6-letter words that start with a

around across always access almost action actual annual amount august anyone active answer agency appear affect accept advice appeal attack author animal acting assume assist attend anyway aspect afford artist avenue assess abroad afraid agenda arrive advise allied arrest affair absent adjust assure autumn accent albeit aboard absorb asleep anchor advent atomic accord attach asthma attain aerial assert absurd assign admire arctic adhere artery alpine arroyo asylum arcade amidst ascent airing archer abrupt ageing armour aurora anthem abound accrue airbus apiece anemia astute affirm ashore accuse analog auburn acumen aspire ardent afloat apache almond antics aching advert apathy ascend arched

-------------------------------------------------------------- 5-letter words that start with a

about after among again above along award allow alone ahead apply aware avoid agent asset agree adult apart audio aside audit array abuse alive argue apple acute arise adopt angry admit arena alike actor anger alert album alter angle alarm adapt angel alpha awful arose ankle ample alien arrow assay abbey alley awake aloud adobe amend armor await align altar aging atlas alloy amino amber aisle agony adept avail attic agile abide arson avert aroma annex aegis abbot apron awoke aspen arbor acorn aloft alias amiss aback angst adage axial ahold awash aloof aloha afoot abyss amuse adore axiom allay

-------------------------------------------------------------- 4-letter words that start with a

also area able away army acid aged anna anti acre auto amid aunt arch axis ally alto akin alas aide apex avid aura atom atop anal axes arid anew ache airy amen ante aero acne axle amir aria aqua arco awry afar acme alum arty axel agar amok anus ajar auld anil axon alms abbe ammo arse arum ahem aloe abut anon aeon aryl adit apse ahoy agio asci abed agon abet arvo aver achy agog axil agin alga anta alar agha acyl ague amyl agma ashy ayin alae ankh ayah avow ambo amah alee aril alit aery alow alky

-------------------------------------------------------------- 3-letter words that start with a

and are all any act ago air age art ask add amp arm aid aim ace ate arc ash ana ave aye aha asp apt ark awe axe ale ant ala ass abs alt app aft ape ado aba ain arb aga ahi ait aah alp ail azo arf avo ani amu alb awl ane auk awn adz ais ami aal ads aas abo aby ama ahs aff als ags ars apo awa ays att ava

-------------------------------------------------------------- 2-letter words that start with a

as at an am ad ah ag ai aa ab ar aw ae ax ay al

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jnometeora · 4 years

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Synapses

Think about it.

Elizabeth.

As we have seen in my reading of the discourses of the “new media camp,” it is true that the post media conditions proposed by those discourses might run the risk of declaring both the abolition of medium specificity per se (and of the concept of the medium in general) and the computer’s triumphant absorption of all the technical and aesthetic possibilities of previous media in its transcoding and algorithmic operations.[0]

Critical Thinking

Looking to a beautiful landscape or receiving pressure waves from vibrating objects, generate different frequencies, sounds, words and appreciate beautiful songs. Colors, tones, smells, tastes are mental creations constructed by the brain out of sensory experience.

They do not exist as such outside the brain, and they are all different for each one of us.

Thus everyone carries with him his singular cultural chip, variable with the time of his trainings, as different from his neighbor’s as the design of his fingerprint or the count of his DNA, natural chips, and travels over a multicolored cartography (…) [1]

Assuming that, we may accept that anything one wants to describe—say, content (sensory experience), space (coordinates), time (intervals), or instructions (programming, algorithms)—can be expressed in the irreducibly countable alphabet of that one binary difference, 0 or 1. [2] Since neuron can be seen as mainly digital because it either fires or it doesn’t; but the question is actually more complicated because that activity is influenced by many factors in the brain which aren’t on/off signals.This leads to a conclusion (…) that the brain works in a way fundamentally different from computers analog and digital – it’s statistical. Nothing like the precision of mechanical computers in storage or computation is available given the brain’s hardware, yet it achieves a high degree of reliability.[3]

The number of connections for each neuron depends on its type [4] and the type of each neuron is determined at random [5] which leads to a statistical elaboration of the sensory experience.

Prospective Emergent digital and physical making technologies and applications emphasize a parallel between an individual’s active perception/sensory systems and human experience as knowledge.[6]

New powerful communication system

Symbiotic Interactivity in Multi-sensory Environments (…) a silent revolution is going on as an effect of emerging mobile and wireless technologies. In the near future we will not just see technology–driven trends towards the unwired techno–nomad, we will simultaneously experience a fundamental change in the way we merge together with advanced, non–local communication systems.Combined with increased sensory resolution and focus on individual experience, we will symbiotically fuse with a world that, in effect, has become our fleeting interface. [7]

Since we do not simply experience a succession of here and nows but we use our to align and update predictions [8] there is the possibility to create some background prototype, a sort of neuronal playground in which synapses may “play” as in the Senselessness installation, in which visitors can experience the so–called Floatation Tank (a.k.a. Isolation Chamber).The tank enables the participant, probably for the first time in his or her life, to experience ‘sensory deprivation’.Similar to the virtual CAVE at the University of Illinois, it is an example of a 21st century ‘cave’, in the sense that it decisively separates the participant from his/her normal environment. Other examples (…) such installations as Dali Llama (participant occupies a cage next to a caged live llama animal); Balls (playing ping–pong in an environment saturated by balls, real and electronic); Gravitation Dissolving (experience an approximation of weightlessness, via a Virtual Reality hang–glider simulator); Bullet–Proof Body Condoms (participants try on huge plastic body bags, in a simulated effort to protect themselves from chemical and biological terror); The Wizard of Schmooze (a ‘disembodied’, invisible ‘wizard’ interacts with participants); or Art Should Touch You (visitors break the taboo of not only touching the artwork but even of being themselves touched by it).[9]

Architectonic thoughts

Armed with this analysis, it would be possible to look at other texts [10] in order to study and create a multi-sensory environment which combine a fun house with an environment of sensory stimuli, optical illusions, and popular culture imagery.[11]

What characterizes the new system of communication, based in the digitized, networked integration of multiple communication modes [12] where everything is artificially rendered and the unknown variable is the character entering the chambers following an aleatory path.

All the possible path should be previously rendered and the spaces disposition holds this difficulty: [13] all the chamber should be well disposed so that the visitor may not realize that all flowcharts were previously studied; in that way the visitor will feel more comfortable as having everything under control and choosing a random succession of spaces and contents.

From now on the visitor will be the synapse of this macro scale neuronal playground. Entering in this system, is entering a recursive function where his sensory experiences are molded.

In order to reach a successful experiment (…) results are running amok [14] and every experience should be barely reproducible in a digital way, but strongly dependent on the character background.

The building should be majestic as a palace of a prince [16] in order to stimulate sensory experience already at first glance. Since the palace of a prince must accommodate a large number of people, it should have rooms notable for their number and size. [16] In those rooms multiple paths are organized, inside Compartition (…) which sub divides the whole Platform of the Palace into smaller Platforms, so that the whole Edifice thus formed and constituted of these its Members, seems to be full of lesser Edifices: By Walling we shall understand all that Structure, which is carried up from the Ground to the Top to support the Weight of the Roof, and such also as is raised on the Inside of the Building, to separate the Rooms; Covering we shall call not only that Part, which is laid over the Top of the Edifice to receive the Rain, but any Part too which is extended in length and breadth over the Heads of those within; which includes all Ceilings, hals arched Roofs, Vaults, and the like. Apertures are all those Outlets, which are in any Part of the Building, for the Convenience of Egress and Regress, or the Passage [17] of the visitors. Paths should be organized in a univocal way.

[0] Kim, Between Film Video and the Digital Hybrid Movin [1]Serres_The Incandescent, [2] Peters_Digital Keywords, [3] Siemens_A Companion to Digital Literary Studies, [4] Bureaud_MetaLife Biotechnologies Synthetic Biology ALi, [5] Bureaud_MetaLife Biotechnologies Synthetic Biology ALi, [6] Schneiderman_Textile Technology and Design From Interior Space, [7] Ascott_Engineering Nature, [8] Wollner_Body Sound and Space in Music and Beyond Multimo, [9] Ascott_Engineering Nature, [10] Serres_History of Scientific Thought, [11] Ockmann_Architecture Culture 1943 1968, [12] Castells_The Rise of the Network Society, [13] Williams_Daniele Barbaros Vitruvius of 1567, [14] Schumacher_The Autopoiesis of Architecture Vol 1 [15] Vitruvius, Ten Books on Architecture 1999 [16] Alberti, On the Art of Building in Ten Books 1988 [17] Alberti, 10 books of architecture 1755

#jnometeora #text

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maxksx · 6 years

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The question of strata can insinuate itself into every word of Trakl's text, because it is at the 'core' of any rigorous graphematics. Each stratum is a dimension of dispersion, flattened like a spiral galaxy. This flatness is just as crucial to the study of intensities as the trajectories traced within it, since the stratification or stacking of organizational levels is the basic form of any possible energetic surplus, the irreducible or final principle of 'real form': redundancy.

Each stratum has its specific 'negentropy' or positive range of compositions, 'selecting' only a relatively narrow series of combinations from the stock of elements generated by its substrate. A stratum thus inherits an aggregate 'degree of difference' or grammar, distinguishing it from a certain potentiality of 'randomness' (unproblematic reducibility into its substrate), and constituting a potential for teleological illusion (unproblematic reduction of its substrate).

This stratification of intensive positivities, which is most clearly indexed by the successive unities of letter, word, sentence, etc. that are precipitated out of a common 'graphic plasma' or semiotic substance within alphabetical regimes, is the only rigorous basis for an architectonics of the sign. Only because of such a graphic redundancy - for example, that stored in the difference between letter and word - between the words an alphabet makes possible and those which are realized - can energy be unevenly distributed within a stratum, and intensities generated.

Claude Shannon's theory of information understands redundancy as the dimension of a message that does not function at the level of communication, but rather functions as a resource for the discrimination of the incommunicative (,noise') from communication in general, thus providing a layer of insulation against the degradation of the message.

This formulation seems to me to lack two crucial elements:

1) It fails to provide any suggestion as to how the message participates in the constitution of redundancies (thus taking redundancy as a transcendental condition of communication). This first default leads to the preservation of the metaphysical distinction between semiotic and material processes (messages and techniques), which is otherwise profoundly shaken by the thought of redundancy; the thought, that is, of an isolation or 'de-naturalization' of the semiotic stratum proceeding by means of intensities or surpluses that invoke no element of negativity, but only gradations.

2) It fails to acknowledge the political dimension of redundancy as a means of trapping disruptive signals. It is this 'trapping' within an intermediate zone between strata that first enables the categories of madness perversion, deformity, disobedience, and indiscipline to be constituted, thus providing the basis for the associated but counterposed disciplinary programmes of pedagogy, psychiatry, punition, etc.

To fail to acknowledge such questions is to take the notion of noise as a purely passive and non-sentient interruption rather than as a strategically oriented 'jamming' of the message, and thus to ignore the conflictual aspects of both grammars and anti-grammatical subterfuges as they contend within the fluctuating space of redundancy or control. This default is typical of a technocratic scientificity which takes the question of power as having been always already resolved prior to the question of technique.

#fanged noumena

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danielscrepanti · 4 years

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Il riferimento assoluto per la composizione progettuale paratattica è indubbiamente il progetto per il Parc de la Villette di Bernard Tschumi... il testo che cito di seguito non è di Tschumi ovviamente, ma fossi stato lui lo avrei voluto scrivere.

<< The white hiatus between letters, words, and sentences, what Silliman calls the twenty-seventh letter of the alphabet and marking the virtual space of non-integration, makes reader intervention possible on the level of semantic construction and connotative tracking. A similar quality of axonometric distortion occurs in much of Clark Coolidge’s poetry and in the systematic-chance- generated texts of Jackson MacLow. In his recent book Alien Tatters, Coolidge retains the sentence as the minimal unit of composition, with grammar and syntax functioning in a superficially normative way.

Monkey come down from that roof with my mother’s

dowery. These baleful scenes can be made to explain. It was

just that dare of a day. Expediency Beranger they called for.

A collided ice to the vitamin point.

Mondo Pianissimo of the bulky Colorado. This is not as

silly as might be turned to in times of expectancy, clearing

right out. Pencil-thin silhouette just down the barrel from

all aim. The cow made smaller by the light. (41)

Although the two most characteristic features of the new-sentence –parataxis and non-integration– stylistically dominate in the passage, catachresis and grammatical transgressions help attain an intense quality of disequilibrium. Considered axonometrically, not as a text but an architectonic, we can say that the grammar and syntax function as the vertical and horizontal elements in an “angled” axonometric structure through which “diagonal” elements (in the form of catachresis and undecidability) provide informational and semiological distortions. >>

(PARAPOETICS AND THE ARCHITECTURAL LEAP di Steve McCaffery, http://revistalaboratorio.udp.cl/num4_2011_art2_mccarffery/)

#luoghicomuni #lugarescomuns #commonplaces #italia #itália #italy #cartolina #postal #postcard #architettura #arquitectura #architecture #paesaggio #paisagem #landscape #urbanistica #urbanismo #urbanism

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tractionmagazine · 7 years

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143. Sherman Sam

Sherman Sam, Do The Same Again, 2016. Oil paint on ply; 31.4 x 29.1 cm. Image courtesy the artist and Annka Kultys.

Following his first UK solo-show at Annka Kultys, London, Traction talked with abstractionist painter, Sherman Sam, about his process and approach to painting. Focusing on the transience and movement of colour, surface, light and intuition; whilst his painterly style can be aligned with the East-Coast Abstractionists, his work opposes typically Western notions of narrative structure altogether. With a career that has spanned the last three decades and across three continents, Sam is a vastly knowledgeable, engaged and enquiring mind in the field of Contemporary Art. A pre-eminent art writer, Sam contributes regularly to Artforum International.

Could you discuss how you approach each painting? Do you have any rituals or particular processes which determine how the work begins and then evolves?

I wish I could say that it’s like being a sportsman where you have your lucky boots, or cross yourself then kiss the field before you play… but it’s not quite like that. Not even lucky brushes or painting slippers… dammit!

At any one time there are some 15-20 works in progress. Some of these have just been sitting in the studio for some years. I would say that half of them are getting more attention than the rest. I move them round, glance at them. A touch of paint here and a touch there, that’s the main action, and not always every day. BUT it is the looking and trying to stumble on to a solution or way forward that takes the time. Well, sometimes it’s not a stumble, but the accidental path is always the most satisfying because it’s so much less predictable. So even those seemingly forlorn pieces sitting around collecting dust, are really still being thought over somewhere in the back of my mind.

How does a painting come together? First I cut and assemble the panels. So when I begin to paint, they already have some sort of determined rectilinear shape. Then I make some marks on the primed panel, maybe a splatter or two, or in earlier pieces a light wash. These actions determine some of the under structures of what becomes the painting. Likewise my drawings follow a similar process. They come about in a process of, lets call it, searching, working through, erasure and then finally equipoise. They too are cut from larger sheets of paper. Both drawings and paintings are the result of some kind of spontaneity and predetermination.

Sherman Sam, Installation view ‘Together We’re Heavy’, Annka Kultys Gallery, London, 17 November- 17 December 2016. Image courtesy the artist and Annka Kultys.

How has your formal language evolved with time?

Let’s call them the things I paint and draw.... “Formal language” begs for “conceptual ideas” and I don’t believe the two are separate. I think the two are so integral to each other in the best work that one cannot speak of one without the other. When I began to conceive this work in the mid-90s, I think the forms in the paintings were very organic and biological on the one hand, and architectonic on the other. You could say that American East Coast abstractionists emerging in the 80s like Tom Nozkowski, Jake Berthot, Gary Stephan, Jonathan Lasker, offered a point of departure. The forms then were usually painted on a rough field or background. The paint itself was quite thick. I think over the years, form and ground have become more intermixed while the paint has become thinner though still layered. The nature of the forms themselves, more and more, are now more constructed through gestures. So dabs of paint come together to define or outline form.

But it is not just the visual language that has evolved; there is also the thing language. The paintings (as opposed to pictures) began as more precisely made things, nicely into having a slightly more wonky (just a bit) handmade nature. Why? Paintings are things in the world, like, well, other things in the world. However they might just sit there and be a bit more thoughtful. Their imprecise nature is a reflection of their internal logic but also the rickety world around us.

Looking at the work in your show at Annka Kultys, I found myself finding references to pattern and western language. How do you feel when these figurative readings are transposed onto the work? How would you choose to describe these forms?

When asked I describe myself as an abstractionist. But if I were a pedant, I would say they really are non-representational. Basically there is no referent, no narrative; sometimes I don’t even think there is any theory. But I like that viewers see things, and find things in them. Isn’t that your job as a viewer? To see and think. Interpret. To make meaning. So I am pleased that you see what you see.

I do like patterns, you should have visited my knitwear collection instead, but in the art it is more about repetition rather than a contentious creation of design. If you see patterning, it is really more the movement of the hand or arm, again and again. Don’t they say that as human beings we look for patterns? As for language, do you mean western language? As opposed to Eastern language?

Sherman Sam, Just a Perfect Day, 2014. Oil paint on ply; 54.4 x 40.1 cm. Image courtesy the artist and Annka Kultys.

Yes, I found myself seeing references to the Latin or Germanic alphabet, which I know is based in my anglicised reading of certain forms.

I think in the drawings there are more graphic elements that could be construed as being derived from architectural diagrams and also graphics but less so in the paintings. But I think the element that most resembles what you are talking about can be found in do the same again, 2016, where there are four green curving marks suggesting “C C C C” the first being the largest and descending in size to the four, that is if you look from left to right. I think of it as marks emanating from right to left, like a force growing or in today’s terms, that little Wi-Fi strength signal on your phone or computer. And no, it is not derived from computer graphics, more like, in my mind at least, movement lines that you find in comic books. American comics when I was a kid inspired me to draw, you can blame them for my art. It is really mark making and repetition. Well, as I said what you see is what you see, or is that what you think you see is what you think?

You have lived in diverse geographical regions, hailing from Singapore you moved to Paris, the US and then London. What impact have these migrations had upon your practice?

Lots! Though I think unquantifiable. First you are exposed to different approaches to art making, not to mention different scenes, people, times, thinking and cultures. Now we have better, more instant information, so in a way we are better informed. Back then you just had to go somewhere; otherwise magazines and word of mouth were the only other sources. If you grow up in a small country like Singapore, where there was hardly any visual art when I was young, you really had to travel. Then there wasn’t even a museum dedicated to art. Today I still think you still have to physically see and experience art. Sure its images are transported and transposed, but the experience of a work is still key. On the other hand this does explain why so much art is made of images and about image.

Sherman Sam, Installation view ‘Together We’re Heavy’, Annka Kultys Gallery, London, 17 November- 17 December 2016. Image courtesy the artist and Annka Kultys.

As an artist I like to think I have a bit of Paris, Los Angeles and San Francisco in me, not to mention a whole lot that is Singaporean. However it is French and New York painting that are probably the most influential to the aesthetic journey I have taken. I would the scale is more European but the language and ideas begin on the East Coast. As for the Asian and Chinese bits, well I think its somewhere in there too, submerged but present.

Interview by Charlotte Barnard.

Sherman Sam’s exhibition, ‘Together We’re Heavy’, was on view at Annka Kultys Gallery, London 17 November – 17 December 2016. Read more here.

Sherman Sam is nominated for the 2017 Sovereign Asian Art Prize in Hong Kong – Asia’s most esteemed contemporary art prize.

He is soon to have a solo exhibition opening in Paris, to keep up with this, and other news regarding his work, please follow his artist page here.

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vasilinaorlova · 7 years

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ultima thule

speaking about hieroglyphic verse and ideographs, although they are under no obligation to make sense, it is great to encounter in them the euphony, the sonic bliss, transforming text into the polyphonic prose and restructuring the architectonics of the work. although the devices should not preclude us from getting the sense of what it is that is being said, like in the wonderful example from The Book of Forms by Lewis Putnam Turco:

“Synonymia is a paraphrase in parallel structures (“I love you; you are my beloved”); synthesis is consequence in parallel structures (“I love you; therefore, I am yours”); antithesis is the opposition of ideas (antinomy) expressed in parallel structures (“I love you, and I loathe you”); auxesis is the building up, in parallel structures, of a catalog or series that ultimately closes at the zenith (high point) of the set (the climax: “I love your eyes, hair, breasts; I love the way you walk and speak; I love you”). Epithomema is climactic summation at the conclusion of a sequence.” (Turco, 2012, 11) (emphases are the author’s, dotingly preserved, of course). I’d like to hear my streams read one day in their entirety (in which case everything that is written across one line should be pronounced simultaneously, maybe in one voice, maybe in different voices), but good declaimers are extremely rare. I once heard The Waste Land read in (I think it was The Waste Land but perhaps it was The Love Song) many voices; it was brutal. poetry cannot be read with theatrical intonations. I’ll leave the instructions to every possible turn of events concerning this text in the text itself. the universe rotates around the Earth in a fantastic flowery pattern. university is anxiety materialized. collective paranoia. so this emoticon had white gloves and whenever you signed out, it waved at you with its white little palm, a yellow round face flattened with a knowing smile. gloved gatekeeper ridiculous. little vacuole of vacuum Proust Faust autodidact augur under the auspices of suspicious Zeus I am fond of wearing corpses corsets who cares somersault: head over heels a soft leap of a spring– zving! the fish pomegranate has wondrous caviar: every bubble explodes on a biter’s teeth producing the most pleasant (albeit somewhat toooily) sensation ripe like a heavy mango: o, open palms and it falls. it has started a long travel of decay, acquired a black looong mark on its ready to burst side and I pity the mango, o, it is a lovely sight. it springs it sprouts a bulbous root cracks it gleams it has a beak the ultratulip ultima thule mad mercurial glint endure the durée of silence, a Durer of vinegar and wine, vengeance and parlance anagram a maze: the lion’s mane suppose he is: suppose she is: memoir grimoire grimmer primrose neoplatonic atheist. collecting the group names of animals for years, he learned that zebras form a zeal, whereas worms a clew (a gluey word), wolves a pack in general but route in moving; weasles form a gang, and whales, a mod; vultures form venues but while circling, kettle; turkeys, rafter; toads, knot; tigers, ambush; termites, brood, but ants, army–although termits and ants are equally apt to form colonies and nests–bacteria put together a culture, and albatrosses, rookery; baboons, troop; badgers, cete; barracudas, battery; bats, cloud; bloodhounds, sute; camels, flock; cats, pounce or clatter, and sometimes nuisance, but as kittens, they form kindle and litter. cheetahs make coalition, whereas coyots, band; crabs organized cast; deer, leash; dolphins, pod; ducks, team or paddling; foxes, skulk; giraffes, tower; goats, tribe; hedgehogs, array; kangaroos, herd; nightingales, watch; pekingese, pomp; porkupines, prickle; jackrabbits, husk, but young rabbits are called nest; salmon, run; sharks, shiver or school; snails in groups are known to bring into existence the escargatoire; and swans, bevy. school of angels. flock of demons. the university mail after the winter break suggests horseback riding classes. a postcard! what is this? who sent it? reveal yourself, mysterious stranger. misanthropology. I think Nigel Thrift introduced “misanthropy” into anthropological discourse, but we’ll likely hear more on it. something visceral. Jesus Christ is crucified on the clock hands. poetry is disappointingly vague, quite unlike technical manuals. oh those were your epistles! late realizations. he invented a new material. neither rubber, nor plastic, but something in between. this material was pretty much good for no one knew what. one could produce something like paper out of it, that is to say, relatively thin, even pieces. he demonstrated a powerpoint image with a paper airplane. “all kinds of things can be made.” only it was not a paper airplane but a new-material airplane. it was all the laboratory could come out with. I suggested, a book could be eventually made out of it. “yes,” he replied, “but the issue here is, we do not know yet how toxic this new material is exactly.” language is sea elements sea but not of water of fire I think someone (Limonov, I think) lost his manuscript in prison and restored it. Nadezhda Mandelstam restored her husband’s (Osip Mandelstam’s) poems out of memory. I think it’d be swell if she did not recollect them in fact but simply wrote them herself. I do not believe it was questioned though for the distinctiveness of his style, also his poems were rhymed, which did make it possible to memorize them. it takes a much shrewder memory to store unrhymed poetry. we do memorize impressions, not words. not bits of information but something that moved us. lost manuscripts trope. libraries set on fire. I am a Herostratus at heart. I’d burn a lot. make letters perish. I wrote on the need of preserving archives, I cannot fathom why. what a strange remark Tony Webster made when I visited him last time in his office! he said English words starting with a “z” were–what?–salty? salty? salty or yellow? I cannot now exactly remember. I only now am thinking about it. I saw professor today, and he informed me that words starting with “z“ are marked, as well as the words starting with “x,” in English (mark is something that makes something un-normal), just as in Navajo words containing “m” are strange–“m” is not amongst sounds you normally encounter. I remember Nabokov (reclining in a chair, in a canvas suit, and glasses in heart-shaped frames, famous Lolita sunglasses (I believe)) claimed that letters have different colors, and of that same opinion his wife Véra was–perhaps it was something common in perception of some group of the time (but for whom? Russian kids growing up in the upper middle class and higher class families?); however of course they had different colors for different letters. well, I don’t know if letters have colors, with the exception of “A,” which (like Derrida frames it, is “the first letter, if the alphabet, and most of the speculations which have ventured into it, are to be believed.” (Derrida, Différance, Margins, 3)) is in the perception of many, red. Malevich: font, color, form. Reference Turco, Lewis Putnam. The Book of Forms: A Handbook of Poetics Including Old and Invented Forms. University Press of New England, 2012.

#stream of consciousness #poetry #prose

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reportingfromthefield · 5 years

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vimeo

TRAME / Etienne REY from bureau Olivia s. sappey d'anjou on Vimeo.

FR dans le cadre de l'hommage triptyque à Victor Vasarely, à la Fondation Vasarely d'Aix-en-Provence du 2 juin au 2 octobre 2016 EXPOSITION "VICTOR VASARELY MultipliCITÉ I L'ART POUR TOUS" / Commisariat : Odile Guichard, Michel Menu, Pierre Vasarely & EXPOSITION "IRISATIONS" / Commisariat : Mathieu Vabre

Vidéo : Cyril Meroni

Les oeuvres d’Etienne Rey créent des expériences de l’espace où lumière, vision et déplacement modulent notre perception. Ce travail marque une continuité des questions initiées par Victor Vasarely, en particulier sur la relation directe à une dimension perceptuelle. Dans le cadre de « MultipliCITÉ », le plasticien Etienne Rey, lauréat 2016 du Prix de la Fondation Vasarely pour les arts numériques (jury : Seconde Nature, Mécènes du Sud, EDIS, Fondation Vasarely, Musée Vouland, Galerie Denise René), a été invité à présenter une série de créations sur les trois lieux de l’hommage triptyque.

À la Fondation Vasarely à Aix-en-Provence, Etienne Rey a choisi d’installer dans la salle des « Intégrations architectoniques » un ballet visuel hypnotique. Composé d’une succession de lames de miroirs, verticales et rotatives, l’installation "Trame" se joue des reflets et de la démultiplication de l’espace, offrant au spectateur une multiplicité de points de vue dans lesquels il peut se perdre à loisir. Par un effet de « porosité » recherché par l’artiste, le dispositif dialogue intensément avec les Intégrations. Devant l’œuvre en constante métamorphose, l’alphabet plastique de Vasarely se recompose ainsi à l’infini comme un jeu de construction renouvelable. Dans cette œuvre, Etienne Rey explore en profondeur les possibilités offertes par le mouvement, la lumière, et surtout l’interaction entre l’œuvre, le public et l’espace, ouvrant sur de nouveaux rapports sensibles et sensoriels au monde.

EQUIPE - Etienne Rey - artiste plasticien - Laurent Perrinet - chercheur en neurosciences à l'INT / CNRS-AMU - Atelier Ni - accompagnement conception - Gauthier Le Rouzic - électronique

PRODUCTION DÉLÉGUÉE - Seconde Nature

SOUTIENS - DRAC PACA - aide individuelle à la création - RÉGION PACA - CAC art visuel

CO-PRODUCTION - ARCADI - La Muse en Circuit, Centre National de Création Musicale - CNRS-AMU / INT, Institut de Neurosciences de la Timone

ENG as part of the tribune to Victor Vasarely, at the Vasarely Foundation, Aix-en-Provence (FR) from June, 2nd till October 2nd, 2016 EXHIBITION "VICTOR VASARELY MultipliCITÉ I L'ART POUR TOUS" / Curators: Odile Guichard, Michel Menu, Pierre Vasarely & EXHIBITION "IRISATIONS" / Curator: Mathieu Vabre

Video: Cyril Meroni

The Etienne Rey's artworks create experiences of space where light, vision and displacement modulate our perception. This approach pursues the issues introduced by Victor Vasarely, especially about the direct relation to a perceptual dimension. As part of the exhibition "MultipliCITÉ", the visual artist Etienne Rey who is the laureate for the year 2016 of the Award of the Vasarely Foundation for digital arts (jury: Seconde Nature, Mécènes du Sud, EDIS, Vasarely Foundation, Vouland Museum, Galerie Denise René), was invited to exhibit a series of creations on the three places of the tribute triptych.

At the Vasarely Foundation in Aix-en-Provence, Etienne Rey chose to exhibit, in the "Architectonic integrations" room, a hypnotic visual ballet. Composed of a succession of vertical and rotative blades made of mirror, the installation "Trame" (Frame) plays with space reflection and multiplication, offering to the spectator a multiplicity of points of view in which he/she can get lost at leisure. By an effect of "porosity" pursued by the artist, the installation interacts intensely in a dialogue with the Integrations. In front of the artwork in constant metamorphosis, the visual alphabet of Vasarely recomposes itself infinitely as the renewable construction set. In this installation, Etienne Rey explores in depth the possibilities offered by the movement, the light, and above all the interaction between the artwork, the public and the space, opening on new sensitive and sensory relations to the world.

TEAM Etienne Rey - visual artist Laurent Perrinet - researcher in neurosciences, INT / CNRS-AMU Atelier Ni - structure conception Gauthier Le Rouzic - electronics

EXECUTIVE PRODUCTION Seconde Nature

SUPPORTS DRAC PACA - aide individuelle à la création RÉGION PACA - CAC art visuel

CO-PRODUCTION ARCADI La Muse en Circuit, National Center of Musical Creation CNRS-AMU / INT, Institut of Neurosciences of la Timone

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How Nice House Interior Designs Is Going To Change Your Business Strategies | nice house interior designs

When developer Michael Kirchmann confused from South Africa to New York City as a twenty-something in 1997, he spent his aboriginal few nights in a copse bazaar on Renwick Artery in Tribeca. Now he lives, works and flips absolute acreage in the neighborhood, which has continued aback confused from copse shops and artists’ lofts to condominiums and flush restaurants.

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The 46-year-old affiliated ancestor of two spent 11 years designing appointment barrio in western Europe at Skidmore, Owings & Merrill (SOM), afore ambience off on his own to begin an architectonics and development close alleged Global Architectonics Strategies (GDSNY) in 2008. While he had originally planned to focus on development, the Abundant Recession waylaid his affairs for a brace years. His baby close rode out the angular years accomplishing architectonics work, including two 34-story ablaze installations for the 2012 London Olympics, the adept plan for a mixed-use development in Bahrain and autogenous architectonics for a restaurant in London. Kirchmann additionally got into designing products, including jets, archetypal motorcycles and Porsches.

Perhaps his better accomplishment has been a gig allowance L M Development Partners body and apple-pie affordable accommodation projects throughout the bristles boroughs. In Far Rockaway, Queens, he revamped a 1,093-unit Section 8 accommodation development, Arverne View, that had been damaged by Superstorm Sandy. His close and OCV Architects came up with the abstraction that they could reclad the facades of the 11 low- and mid-rise barrio with an exoteric insulation system, giving them a new, blooming white-and-gray attending and much-needed insulation from the elements.

The barrio “weren’t cloistral and they leaked,” said Jeffrey Moelis, the development administrator of canning at L M (and accessory to L M co-Founder Ron Moelis). The new bluff panels “solved those problems and accustomed Michael to actualize this [architectural] vision. And [they] accustomed us to do it in a way that helped us accomplish our budget.”

In Brownsville, Brooklyn, Kirchmann teamed up with L M to reimagine the Marcus Garvey Apartments, a townhouse-style residential circuitous with 693 federally subsidized apartments. GDSNY created a new lighting arrangement for the exterior, devised new agriculture for the courtyards in amid the barrio and installed solar panels on the roofs of the sprawling development. As allotment of the bluff renovation, they advised two-story, perforated metal panels that resembled blooming ivy and installed them on tall, light-up panels, which awning attenuated stretches of the facades aloft the doorways on the Marcus Garvey buildings.

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“He absolutely buys into that abstraction that there’s no acumen why bodies who alive in affordable accommodation can’t alive in a admirable place,” Moelis said. “It doesn’t amount a accomplished lot more. If they feel like they’re in a nice place, they’re activity to account it and booty affliction of it. We’ve apparent a big bead in abuse [at Marcus Garvey]. It’s not all attributed to the architecture—there’s beefed up security—but I anticipate bodies are appreciative of area they live, and they don’t appetite their neighbors and guests antibacterial the place.”

Kirchmann estimated that he has completed 20 projects with L M, including the redevelopment of six New York City Accommodation Authority complexes with 875 apartments—Bronxchester Houses in the South Bronx, Saratoga Aboveboard in Bedford-Stuyvesant, Brooklyn, Millbank-Frawley Apartments in axial Harlem, and Campos Plaza in Alphabet City. He additionally brought his artful talents to L M’s four-year-old residential barrio at 1951 Park Avenue in East Harlem, area he created what he calls an 80-foot-long metal “art wall,” with fins of differing base that assume to agitate as one passes by on the animated Metro North tracks.

But in the accomplished two years, he’s assuredly started to assignment on the affectionate of projects he set out to do added than a decade ago—ground-up buildings. Abutting to the High Line in West Chelsea, GDSNY is amalgam a 10-story, eight-unit affluence address architectonics at 500 West 25th Street. Each high adventure except for the accommodation holds a full-floor, three-bedroom, three-bath accommodation with a clandestine terrace. Asking prices ambit from $5.5 actor for a 2,100-square-foot address on the third attic to $16.9 actor for a four-bedroom, four-bath bifold accommodation advance beyond 4,300 aboveboard feet. The boxlike anatomy cantilevers over the High Line, which Kirchmann considers the best cogent allotment of architectonics in New York City. Its facade, clad in anemic gray Alabama limestone, will borrow architectonics cues from the elevated-freight-line-turned-park. Kirchmann brought in the lighting artisan that formed on the High Line, a French close alleged L’Observatoire, to ability night-time lighting for the exoteric of 500 West 25th. Wrought adamant railings forth the balconies and gold aluminum emphasis panels are additionally declared to adjure the 1920s architectonics and stainless animate railings of the High Line. The developer additionally assassin Swedish-born bounded artery artisan Tony Sjöman, additionally accepted as Rubin, to actualize a geometric board art allotment to beautify the lobby.

“We capital to do article absorbing but not crazy” on West 25th Street, he said. “Our apartments are actual high-end, but they get to the point. We try not to accept any mirrorballs or annihilation blind in the lobby. It’s aloof like apple-pie Scanda-modern blazon stuff.”

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In fact, alive with artists—and creating art of its own—is a big allotment of GDSNY’s business. Afore he adapted a Soho attic architectonics at 25 Mercer Artery into condos, he accustomed British artisan Shantell Martin to draw faces on the walls. (He larboard her assets below the drywall for address owners to acquisition aback they apple-pie their apartments in a decade or two.) He additionally hosted a laser art accession and ball achievement in the building, with lasers by artisan Matthew Schreiber and choreography from Kathryn Boren of the American Ballet Theatre. And in February of aftermost year, he teamed up with an ad bureau to spray-paint a sky-blue and fire-engine red mural featuring aerial seagulls on his development armpit at 10th Avenue on West 25th Street, abutting to the High Line. The mural was allotment of a beyond activity alleged “Wall That Unites,” and was meant to beef Admiral Donald Trump’s planned bound bank with Mexico.

And Kirchmann has assuredly gotten aback to designing new appointment buildings. He and his business partner, Alan Rudikoff, active a 99-year arena charter in April for one of the aftermost abortive sites in NoMad, at 1241 Broadway at the bend of West 31st Street. They plan to body a 170,000-square-foot bazaar appointment building, with Kirchmann’s above administration from SOM administration the design.

T.J. Gottesdiener, a managing accomplice at SOM’s New York City office, is alive carefully with Kirchmann on 1241 Broadway. Aback Gottesdiener met him 15 years ago, Kirchmann was his employee. Now he’s a client, which is “kind of awkward but fun,” Gottesdeiner said. At SOM, “he was tenacious. He’d accept an abstraction and he would accompany it. It’s not a abruptness to me that he went into development.” As a developer, Gottesdiener added, Kirchmann “talks about the art of architecture. You can see his auto axis aback we appearance him the ground-floor amplitude or the lobby. He talks about what he can do to accompany some affectionate of art into the affairs and how bodies will acknowledge to it, how it will be lit at night. [There are] abundant burghal issues that he’s cerebration about.”

Douglas Mass, the admiral of engineering close Cosentini Associates, has accepted Kirchmann aback he started at SOM 21 years ago. The brace aboriginal met while alive on an appointment belfry in Paris for developer Howard Ronson, whose HRO International was a abounding artist of appointment amplitude in Manhattan and western Europe in the 1980s and 1990s. They’ve formed on over 20 bartering projects together, mostly in Paris, London and Germany, Mass said.

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“I apparently formed on every activity with him at SOM,” the artist explained. “Not too abounding bodies his age or any age accept done 8 actor aboveboard anxiety of amplitude in 25 buildings.” Mass alleged Kirchmann’s artful “classic adapted architecture” while acknowledging that “he knows about budgets and he’s a abundant collaborator.”

The South African artist additionally met his business partner, Rudikoff, while alive on Ronson’s projects. Rudikoff was Ronson’s right-hand man, Kirchmann said, and he after went on to begin his own development close in Sweden in 2007. During his bristles years active in Stockholm, Rudikoff helped accounts and advance a $350 million, 800,000-square-foot office, auberge and assemblage centermost circuitous alleged the Waterfront.

Kirchmann has appear a continued way from his adolescence in Johannesburg, area he was one of seven kids built-in to a absolute acreage developer ancestor and autogenous artisan mother. He larboard to abstraction architectonics in Cape Town and confused to New York City in 1997, area he anon landed a job as a architectonics artist at SOM beneath Roger Duffy. Once he absitively to get aback into the development game, he went aback to academy to apprentice the banking ancillary of the business and completed a master’s amount in absolute acreage at New York University in 2007. He concluded up giving a few lectures on architectonics as a master’s student. Then Columbia University’s Graduate Academy of Architecture, Planning and Canning asked him to advise a absolute acreage advance with Jared Della Valle and A.J. Pires, two added architects-turned-developers who founded Alloy Development.

Although GDSNY is still a baby angle in the development world, Kirchmann argues that his acquaintance as an architect—combined with his business partner’s assignment accumulating a huge mixed-use activity in Stockholm—makes them a decidedly active firm.

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“We see all the pieces in advanced of us from the business to the architectonics to the architectonics to the engineering to the finance,” he explained. “We’re in a different bearings area we can amalgamate those actual finer and actual efficiently. [When] we attending at projects, for example, we’re able to accede those projects actual bound because we can do zoning studies in-house. We can do planning in-house. It’s article that happens in a few hours as against to a few weeks. That absolutely gives us a aggressive bend aback we are out there attractive for properties.”

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pabe-barron · 7 years

Video

vimeo

Etienne REY TRAME Elasticité Fondation Vasarely from Etienne Rey on Vimeo.

Vidéo : Cyril Meroni

EQUIPE - Etienne Rey - artiste plasticien - Laurent Perrinet - chercheur en neurosciences à l'INT / CNRS-AMU - Atelier Ni - accompagnement conception - Gauthier Le Rouzic - électronique

PRODUCTION DÉLÉGUÉE - Seconde Nature

SOUTIENS - DRAC PACA - aide individuelle à la création - RÉGION PACA - CAC art visuel

CO-PRODUCTION - ARCADI - La Muse en Circuit, Centre National de Création Musicale - CNRS-AMU / INT, Institut de Neurosciences de la Timone

Video: Cyril Meroni

TEAM Etienne Rey - visual artist Laurent Perrinet - researcher in neurosciences, INT / CNRS-AMU Atelier Ni - structure conception Gauthier Le Rouzic - electronics

EXECUTIVE PRODUCTION Seconde Nature

SUPPORTS DRAC PACA - aide individuelle à la création RÉGION PACA - CAC art visuel

CO-PRODUCTION ARCADI La Muse en Circuit, National Center of Musical Creation CNRS-AMU / INT, Institut of Neurosciences of la Timone

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homedevises · 5 years

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Kirchmann estimated that he has completed 20 projects with L M, including the redevelopment of six New York City Accommodation Authority complexes with 875 apartments—Bronxchester Houses in the South Bronx, Saratoga Aboveboard in Bedford-Stuyvesant, Brooklyn, Millbank-Frawley Apartments in axial Harlem, and Campos Plaza in Alphabet City. He additionally brought his artful talents to L M’s four-year-old residential barrio at 1351 Park Avenue in East Harlem, area he created what he calls an 80-foot-long metal “art wall,” with fins of differing base that assume to agitate as one passes by on the animated Metro North tracks.

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