Cool Image Galleries images

Some cool image galleries images:

The BEAT CARES holiday food and toy drive at Brentwood Town Centre photos by Ron Sombilon Gallery (530)

Image by SOMBILON ART, MEDIA and PHOTOGRAPHY

Sculpture: Deadly Sins (Snowglobes), Pure Products USA, by Nora Ligorano and Marshall Reese, Eyebeam Open Studios Fall 2009 / 20091023.10D.55572.P1.L1 / SML

Some cool image galleries images:

Sculpture: Deadly Sins (Snowglobes), Pure Products USA, by Nora Ligorano and Marshall Reese, Eyebeam Open Studios Fall 2009 / 20091023.10D.55572.P1.L1 / SML

Image by See-ming Lee 李思明 SML
See also video interview with the artist (Flickr HD video).

Deadly Sins

A new collectible, slated to set the mark as an icon for the 22nd Century - collect all Seven Deadly Sins. Due out by December in an exclusive limited edition set.

Pure Products USA | Ligorano/Reese Collaboration in Art

Towards a Surreal Politik…

In 1992, we began Pure Products of America as a series of multiple editions focusing on the impact of marketing on politics. Over the past 17 years, the series has expanded and now includes 14 pieces running the gamut from snow globes to underwear (our underwear was the first to pack a political message), to happy meals.

Each object is signed and numbered in various sized editions. When we introduce Pure Products, we send some of them as gifts to government officials. Presidents Obama, Bush, and Clinton, members of the Supreme Court and various Senators and Congressional representatives have all received a pure product at one time or another.

Pure Products also function as discreet elements in installations. The installations The Bible Belt, Pillars of the Clean Order, and Steel Nipples incorporated them in sculptural settings with video and other media. In 2001, we expanded on this idea with the inauguration of an online retail website as part of the project.

Each piece is grounded within a framework that satirizes political values and, often, lampoons morality. Some pure products, like Line Up and Contract with America underwear, became media sensations, reported in the press, on television and radio. The commentary surrounding the artwork is a mixture of absurdity and culture jamming, amplifying how much the media interprets and misinterprets contemporary art and blurs the connections between art, activism and commerce.

ligoranoreese.net/pure-products-usa

Bio

NORA LIGORANO and MARSHALL REESE have collaborated together as Ligorano/Reese since the early 80’s. They use collaboration to blend diverse talents into a singular voice and vision. In the process of creating their work, their individual contributions cross and criss-cross between each other from brainstorming to realizing and making the art on location or in the studio.

They use unusual materials and industrial processes to make their limited edition multiples, videos, sculptures and installations, moving easily from dish towels, underwear, and snow globes, to electronic art and computer controlled interactive installations.

They take and manipulate images, audio and text from old media: print, television, radio and combine that with the new: internet and mobile telecommunications. Their pursuit is an ongoing investigation into the impact of technology on culture and the associations and meanings that the media brings to images, language and speech in politics.

They have an interest with using open forms to involve community interaction, like their drawing contests, Crater Bay Area for the 01 Festival in San Jose and Crater New York at Location1. Installations that combine sculpture with public participation in drawing, within the context of a contest that is also streamed on the internet and in Second Life. Their ice sculptures, “Main Street Meltdown” and “The State of Things” share that same sense of open possibility, fusing natural processes of erosion and decay as flexible durations and markers to determine the experience of the work.

Many of their sculptures and installations reinterpret and reexamine older forms of technology - using objects that signify truth, authority and manifest cultural historicity. Ligorano/Reese use mirrors, clocks, metronomes and medieval codex bindings and combine them with video screens. They have invented micro-projection systems to display films on the head of a pin or the counterweight of a metronome.

Since 2004, they’ve investigated portraiture as a construct of social representation. Line Up (2004-5), their series of portraits of Bush administration officials in mug shot, acknowledges that the mug shot is the preeminent form of portraiture now that more people are incarcerated in the U.S. than any other country in the world. In December, 2007, the exhibition of these photos at the New York Public Library caused a firestorm of controversy with heavy rotation on FoxNews, DrudgeReport’s homepage and many, many other publications.

In 2001, they launched www.pureproductsusa.com, the online retail website for their infamous political art series the Pure Products of America. Since 1992, Ligorano/Reese have made 11 multiples in signed editions of 3 to 100. They are best selling editions at Printed Matter, artbook@ps1 and the New Museum store and have prompted, at least on one occasion, the RNC to threaten them with copyright infringement.

For more information see “The Joy of Collaborating: recipes for time-based art.”

ligoranoreese.net/about


Eyebeam Open Studios: Fall 2009

eyebeam.org/events/open-studios-fall-2009

Eyebeam is pleased to host Open Studios for its 2009 Senior Fellows, Resident Artists, and Student Residents at Eyebeam’s state-of-the-art design, research, and fabrication studio; showcasing video performance, wearable technologies, code and humor, party technology, and sustainablity design.

///////////////

Eyebeam is the leading not-for-profit art and technology center in the United States.

Founded in 1996 and incorporated in 1997, Eyebeam was conceived as a non-profit art and technology center dedicated to exposing broad and diverse audiences to new technologies and media arts, while simultaneously establishing and demonstrating new media as a significant genre of cultural production.

Since then, Eyebeam has supported more than 130 fellowships and residencies for artists and creative technologists; we've run an active education program for youth, artists' professional development and community outreach; and have mounted an extensive series of public programs, over recent years approximately 4 exhibitions and 40 workshops, performances and events annually.

Today, Eyebeam offers residencies and fellowships for artists and technologists working in a wide range of media. At any given time, there are up to 20 resident artists and fellows onsite at Eyebeam's 15,000-square foot Chelsea offices and Labs, developing new projects and creating work for open dissemination through online, primarily open-source, publication as well as a robust calendar of public programming that includes free exhibitions, lectures and panels, participatory workshops, live performances and educational series.

eyebeam.org

between the wheels

Image by onkel_wart (thomas lieser)
Between the Wheels by Rush
To live between a rock and a hard place
In between time
Cruising in prime time
Soaking up the cathode rays

To live between the wars in our time
Living in real time
Holding the good time
Holding on to yesterdays

[Chorus]

You know how that rabbit feels
Going under your speeding wheels
Bright images flashing by
Like windshields towards a fly
Frozen in the fatal climb
But the wheels of time
Just pass you by
Wheels can take you around
Wheels can cut you down
We can go from boom to bust
From dreams to a bowl of dust
We can fall from rockets' red glare
Down to "Brother can you spare..."
Another war
Another wasteland
And another lost generation

It slips between your hands like water
This living in real time
A dizzying lifetime
Reeling by on celluloid

Struck between the eyes
By the big-time world
Walking uneasy streets
Hiding beneath the sheets
Got to try and fill the void

listen

Explore #329

The BEAT CARES holiday food and toy drive at Brentwood Town Centre photos by Ron Sombilon Gallery (692)

Check out these image galleries images:

The BEAT CARES holiday food and toy drive at Brentwood Town Centre photos by Ron Sombilon Gallery (692)

Image by SOMBILON ART, MEDIA and PHOTOGRAPHY

Cool Image Galleries images

Check out these image galleries images:

Steps up from Mudjimba Beach.

Image by JIGGS IMAGES
Early morning, Mudjimba Beach.

ODT - Steps.

Nice Image Galleries photos

A few nice image galleries images I found:

Building Facade, Gas Lamp Post, Blossom - Brian Eno Speaker Flowers Sound Installation at Marlborough House

Image by Dominic's pics
View this virtual tour of 152 images as a Slideshow

The facade of Marlborough House on the Old Steine, Brighton, East Sussex with rainbow coloured windows, traditional gas lamp style lamp post, and trees in pink blossom.

See also the related "Brian Eno 77 Million Paintings" set, - an exhibition that ran concurrently at Fabrica Gallery during the festival.

This image is part of a set of photos of the Brian Eno Speaker Flowers Sound Installation at Marlborough House (and also of the house itself) on the Old Steine, Brighton, East sussex, UK. The exhibition was presented by Fabrica Art Gallery, as part of the Brighton Festival, May 2010. The installation includes the poems and words of Rick Holland.

The Grade I listed house was built circa 1765 , purchased at one time by the Duke of Marlborough, and substantially remodelled by the Scottish architect Robert Adam.

More links:

Brian Eno Shop
Arena TV series theme tune video by Brian Eno.
Microsoft Windows Start-Up Sounds collection video (Including Windows 95 music by Brian Eno).

Marlborough House (My Brighton and Hove)
The Architecture of Robert Adam (1728-1792) from RCAHMS (the Royal Commission on the Ancient and Historical Monuments of Scotland)
Humberts Leisure Brochure on property [.pdf download]

Some of the photos in this set are presented in multiple versions made possible using HDR (High Dynamic Range) photography - these variations are displayed with more than one exposure, gamma, "local adaptation" compression or "unsharp mask" process.

Many rooms had their windows screened using coloured Crêpe paper / tissue paper. This gave their illumination a colour caste - which has been exaggerated (or neutralised) on an image by image basis. The actual experience of the coloured light was one of only a slight and soft hue.

In some instances the photos have modified to give an architectural, classical, "two-point" perspective - with forced, parallel verticals.

1967 NSU RO 80

Image by Georg Schwalbach (GS1311)
The NSU Ro 80 was a technologically advanced large sedan-type automobile produced by the German firm of NSU from 1967 until 1977. Most notable was the powertrain; a 113 bhp (86 kW), 995 cc twin-rotor Wankel engine driving the front wheels through a semi-automatic transmission employing an innovative vacuum system. It was voted Car of the Year for 1968 by European motoring writers.

Unfortunately for NSU, the car developed an early reputation for unreliability, from which it would never escape. The Wankel engine in particular suffered from heavy wear on the rotor tip seals, among many other problems, and some early cars required a completely rebuilt engine before 30,000 miles (50,000 km), with problems visible as early as 15,000 miles (24,000 kilometres). The fact that the rotary engine design was inherently thirsty (typically 15-18 mpg) and a poor understanding of the Wankel engine by dealers and mechanics did not help this situation. By the 1970 model year, most of these problems were resolved, but a necessarily generous warranty policy and damage to the car's reputation had undermined NSU's financial situation irreparably. NSU was acquired by Audi (of the Volkswagen group) in 1969. Second hand Ro80s were virtually worthless in the 1970s due to the well-publicised engine problems, and a common "cure" for an ailing rotary engine was to simply swap it for a Ford V4 "Essex" engine (as found in Mk1 Transits) purely as it was one of the few engines compact enough to fit in the Ro80's engine bay. Thus in an ironic twist, one of the smoothest engines in the world was replaced by one of the roughest. The NSU's unpopularity caused by the above problems means that surviving examples are very rare, and are now considered highly-prized classic cars with values to match, particularly as thanks to Mazda's perseverance with rotary design, the tip seal problem has been all but eradicated.

Other technological features of the Ro 80 aside from the powertrain were the four wheel ATE Dunlop disc brakes, which for some time were generally only featured on expensive sports or luxury saloon cars. The front brakes were mounted inboard, reducing the unsprung weight. The suspension was independent on all four wheels, with MacPherson struts at the front and semi-trailing arm suspension at the rear, both of which are space-saving designs commonly used today. Power assisted ZF rack and pinion steering was used, again foreshadowing more recent designs.

The car featured an automatic clutch which was commonly described as a three-speed semi-automatic gearbox: there was no clutch pedal but instead, on top of the gearknob, an electric switch that operated a vacuum system which disengaged the clutch. The gear lever itself then could be moved through a standard 'h pattern' gate.

Interior trim combined cloth covered seats with pvc headlining and a carpeted floor.

The styling, by Claus Luthe who was head of design at NSU and later BMW, was considered very modern at the time and still holds up well; the Ro 80 has been part of many gallery exhibits of modern industrial design. The large glass area foreshadowed 1970s designs such as Citroën's. The shape was also slippery, with a drag coefficient of 0.355 (very good for the era, although average for modern cars). This allowed for a top speed of 112 mph (179.2 km/h). Indeed, comparisons have been drawn between the design of the Ro80 and the superbly aerodynamic 1984 Audi 100 - the shape is very, very similar.

Series production started in October 1967: the last examples came off the production line in April 1977. There were 37,204 vehicles produced during the ten year production run.

(Wikipedia)

- - -

Der NSU Ro 80 war eine Limousine der gehobenen Klasse von NSU, später Audi NSU. Er erschien 1967 mit einer revolutionären aerodynamischen Karosserie, die ihrer Zeit weit voraus war. Ebenfalls ungewöhnlich war der Wankelmotor, der 115 PS leistete. Dieser Motor machte in der Frühzeit durch häufige Dichtleistendefekte auf sich aufmerksam, denen jedoch der Hersteller mit kulantem Motorenaustausch begegnete. Dennoch litt der Ruf des neuen Modells und des Wankelmotors darunter erheblich.

Die konsequente Umsetzung der Keilform im Entwurf von Claus Luthe war ein stilprägender Impuls für das Automobildesign der 1980er-Jahre. Insbesondere bei Audi sollte das Erscheinungsbild des Ro 80 maßgeblich für ganze Fahrzeuggenerationen werden. Das charakteristische hintere Dreiecksfenster ist bis heute typischer Bestandteil des Designs bei Audi.

Der Ro 80 wurde in nur 37.398 Exemplaren bis 1977 produziert und blieb, technisch gesehen, ohne Nachfolger. Das letzte produzierte Fahrzeug wurde 1977 dem Deutschen Museum übergeben. Weitere Fahrzeuge sind unter anderem in der Pinakothek der Moderne in München, im Depot des Deutschen Technikmuseums Berlin, im Deutschen Zweirad- und NSU-Museum und im Audi Forum in Neckarsulm, im museum mobile in Ingolstadt, im EFA-Museum für Deutsche Automobilgeschichte in Amerang sowie in der Autostadt in Wolfsburg ausgestellt. Das Schnittmodell des Ro 80, mit dem der Wagen auf der IAA vorgestellt wurde, wird im Museum Autovision als Teil der Dauerausstellung Wankelmotor gezeigt.

Der weltweit älteste noch erhaltene NSU Ro 80 gehört einem Architekten aus Frankfurt am Main, und trägt die Fahrgestell-Nr. 80 001 061, Fertigungsdatum Donnerstag, der 19. Oktober 1967, Farbe saguntoblau.

Das „Ro“ im Namen steht für Rotationskolben im Gegensatz zu „K“ wie beim VW K 70, das für Kolben bzw. Hubkolben stand.

Bei den ersten Serienmotoren kam es infolge eines Konstruktionsfehlers zu vermehrten Motorschäden. Hatten die Motoren in der Erprobung über 200 000 km gehalten, so verloren sie in Kundenhand oft schnell an Kompression. Schnell wurde eine falsche Materialpaarung als Ursache dafür erkannt. Eilig wurden Material sowie die Teilung der Dichtleisten geändert und somit war das Dichtleistenproblem vorerst gelöst. In Verbindung mit einem Ferrotic-Mittelteil und einer härteren Enesilschicht mit höherem Siliziumkarbidanteil ging man später auf die ursprüngliche Dichtleistenteilung zurück. Ab Anfang 1970 wurden die neuen Ferrotic-Dichtleisten in die Serie eingeführt.

Als ebenfalls problematisch erwies sich die Doppelzündung, zum einen von der Einstellung her und zum anderen wegen des hohen Abbrands der Zündkontakte, was dann durch zu viel Frühzündung zu Motorschäden führte. Dies wurde durch eine Einfachzündung in Verbindung mit einer Hochspannungskondensatorzündung (HKZ) auf Kosten des Spritverbrauchs behoben. Die kulante Austauschpraxis führte zeitweise dazu, dass über 35 % der angeblich defekten Motoren in Ordnung waren. Nachdem der Zündzeitpunkt sowie der Vergaser neu eingestellt wurden und der Motor einen Probelauf auf dem Prüfstand absolviert hatte, wurden diese Motoren wieder als Austauschmotoren ausgeliefert.

Ein nicht unerheblicher Anteil an Motorschäden ging auf das Konto des Drehmomentwandlers, den man gegen das Schieberuckeln (verursacht durch den Umfangseinlass) einbaute und der zum Teil für den Mehrverbrauch des Ro 80 mitverantwortlich war. Da der Wankelmotor erheblich höher drehte (wohl eher wegen erheblicher Überdrehzahl aufgrund fehlender Drehzahlbegrenzung), passierte es bei einer Reihe Drehmomentwandlern, dass sie sich radial ausdehnten. Dadurch zogen sie sich axial zusammen und nun kollidierte das Pumpen- mit dem Turbinenrad. Da der Wandler im Motorölkreislauf hing, gelangten dadurch Späne in den Motor, was dann umgehend zu Motorschäden führte. Auch erwies sich ein kleines Nadellager im Wandler als anfällig, dessen häufiger Ausfall ebenfalls zu Spänen im Motoröl führte und damit indirekt für einen defekten Motor sorgte. Dies wurde dann durch einen verstärkten Wandler behoben. Ab Herbst 1971 führte man dann in Verbindung mit der Bosch-Hochspannungskondensatorzündung und thermischer Abgasentgiftung einen akustischen Drehzahlwarner ein, der die elektrische Benzinpumpe bei Überdrehzahl abschaltete und dadurch eine Überdrehzahl des Motors wirksam vermied.

Anfänglich war alle 20 000 km ein Ölwechsel nötig, der später jedoch entfiel. So mancher Fahrer glaubte deshalb, man müsste kein Öl mehr nachfüllen, worauf einige Motoren ohne Öl liegen blieben. Dieser Art Motorschäden begegnete man mit einer geänderten zweiflutigen Ölpumpe. Der Einlass für den Wandlerkreislauf wurde höher angesetzt. Bevor nun der Motorölkreislauf kein Öl mehr bekam, saugte der Wandlerkreislauf Luft, woraufhin der Wandleröldruck absank und die Öldruckanzeige aufleuchtete. Ignorierte der Fahrer die Warnlampe, übertrug der Wandler keine Kraft mehr an das Getriebe und das Auto blieb stehen. Spätestens jetzt wusste der nachlässige Fahrer, dass er vergessen hatte, den Ölstand zu kontrollieren.

Ein weiteres Problem, das ebenfalls direkt zu Motorschäden führte, war eine Öldosierpumpe ohne Nullanschlag. Dies führte dazu, dass, wenn diese Pumpe falsch eingestellt wurde, im Leerlauf kein Öl für die Trochoidenschmierung geliefert wurde. Daraufhin wurde eine geänderte Öldosierpumpe eingesetzt, die nun nicht mehr auf Null gestellt werden konnte.

Problematisch war auch, dass man gleich mehrere bis dahin unerprobte Verfahren in Verbindung mit dem Wankelmotor einführte. So hieß es von dem Enesilverfahren scherzhaft, es funktioniere nur bei Südwind, was auf die Witterungsempfindlichkeit anspielte. Auch gab es anfänglich Probleme mit der Dosierung und Korngröße des eingebetteten Siliziumkarbids und der Dosierung des Saccharin (das als Einebner für Nickelschichten in der Galvanik angewendet wird). Zudem waren die Werkstätten zum Teil mit der Technik rund um den Motor überfordert. Teilweise aber entwickelten einige Kunden auch geradezu kriminelle Energien. Kurz vor dem Ablauf der Garantie provozierten sie absichtlich einen Motorschaden.

Als das Dichtleistenproblem gelöst schien, kam es wieder zu gehäuften Motorschäden. Nun war es aber kein Konstruktionsfehler, sondern ein Zulieferer, der sich nicht an die Fertigungsvorschriften hielt.

Bei den letzten Ausführungen der Motoren bestanden die Dichtleisten komplett aus Ferrotic, diese Aggregate erwiesen sich als äußerst robust. Zusätzlich kam der Lebensdauer die Einführung des bleifreien Benzins entgegen. Anders als ein Viertakthubkolbenmotor dessen Ventilsitze mit Blei geschmiert werden mussten konnte der Wankelmotor des Ro 80 problemlos mit bleifreiem Kraftstoff betrieben werden, da beim Wankelmotor für die Gaswechselsteuerung keine Ventile benötigt werden.

(Wikipedia)

Muses, Riusuke Fukahori - Goldfish Salvation

Image by Dominic's pics
Part of a Set / Slideshow. See also the related gallery Set.

Here a High Dynamic Range (HDR) image has been modified using Local Adaptation. The process enables details in both bright areas and dark areas to be seen in the the same image.

美渦　"Muses"
Sushi-basin, casting resin, acrylic paint

Artist: Riusuke Fukahori 深堀隆介
Curator: Hisami Omori
Gallery: ICN Gallery London [map]
Exhibition title: "Goldfish Salvation"
On view from 1 December 2011 to 11 January 2012

ICN (International Creative Network) Gallery website: www.icn-global.com/
Artist's website: goldfishing.info/ (in Japanese 日本語 - or ponder the Google Transmangleation!)

This and other exhibitions at the ICN Gallery have been documented by "Haikugirl" Ali [Alison] Muskett in photos in these flickr sets - Goldfish Salvation, Ryo Arai & Itaro Yamamoto, Ohaku Tea Boxes - and also in her blog postings - Goldfish Salvation, Ryo Arai & Itaro Yamamoto, Keiko Masumoto, Ohaku Tea Boxes.

The BEAT CARES holiday food and toy drive at Brentwood Town Centre photos by Ron Sombilon Gallery (525)

Check out these image galleries images:

The BEAT CARES holiday food and toy drive at Brentwood Town Centre photos by Ron Sombilon Gallery (525)

Image by SOMBILON ART, MEDIA and PHOTOGRAPHY

Nice Image Galleries photos

Some cool image galleries images:

The BEAT CARES holiday food and toy drive at Brentwood Town Centre photos by Ron Sombilon Gallery (746)

Image by SOMBILON ART, MEDIA and PHOTOGRAPHY