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grad604-gracemacd · 2 years ago

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Week Two - NZ Creatives

Studio Bon:

The designer begins the vibrant illustrations, Bonnie Brown is a Wellington native. Her work is beautifully bold and uses bright colours that draw the eye. Illustration is just one of her superpowers and has been recognised by brands such as Adobe, American Express, Cosmopolitan, Essie and Estee Lauder that have asked her to create beautiful designs for them.

Carmel Van Der Hoeven

Carmel is a very talented self-taught, multidisciplinary artist, known for her elegant floral painting pieces and is based in Pirongia, near Hamilton. Her pieces have been described as ‘marking the canvas with meticulous painted brush strokes, creating an intricate visual of time and rhythm within nature.’

Marcus Watson

Marcus is an illustrator, lettering artist and graphic designer from Auckland, New Zealand. The feel of his work is fun, exciting and funky. Much of his work has been used in shops and restaurants across the city but has also been recognised by large companies, one being Lamborghini, helping them with a design for a bonnet for the charity, Movember. Everyone loves his bold illustrations where he manages to pop a modern setting on previously traditional images.

Jake Darwen

Jake is a kiwi skate photographer who now lives in America. His work has been recognised by some of the most recognizable brands within the industry from Thrasher Magazine, collaborations with Element and New Balance. From being a skater himself, he has an impeccable eye for the sport and ability to capture the tricks in motion.

Maggie Marilyn

Maggie is a New Zealand fashion designer from Auckland. She studied at the Whitecliffe College of Arts and Design, with her work being recognised not long after leaving and putting in the hard yards. Her designs were spotted in Net-a-Porter which sent her name globally recognised. Today, her designs are sold globally and loved for bold colours, structured yet fun designs that make people feel powerful and beautiful.

Seachange Studio

The co-founders and creative directors of Seachange are Amanda Gaskin and Tim Donaldson, who have immense experience from respective agencies in London, later returning to Auckland, New Zealand. The studio is well-known in the creative industry for their bold, exciting and innovative designs specialising in branding, packaging, digital and graphic design.

Natasha Wright

Natasha was born in New Zealand, where she completed her Honours for Bachelor of Design at Massey University in wellington. From here, she fled the nest and went to New York where she continued her passion for the arts and has become well recognised for her pieces. Her paintings are large scale items, exploring gender, sexuality, power and aggression.

Gina Kiel

Gina Kiel is an artist from Te Whanganui-a-Tara, Aotearoa (Wellington, New Zealand). Her work feels like an experience, with the colour exploration of imagery and the flowing lines. She has developed murals across the country and beautiful solo pieces.

Studio South

Studio South is based in Auckland, New Zealand with Sam Southwell and Anna Southwell as the Founders and Creative Directors (Anna is also Senior Strategist). They develop innovative and creative solutions for their clients, ensuring ‘draw out the essential’. Their specialties include Strategy, Design, digital, Communications and Business Ventures.

Richard Partners

Richard Partners is a Brand Strategy and Design firm based in Newmarket, New Zealand. The firm specialises in proposing innovative solutions for brands that develop change. They have worked on many projects across the city, including Orca, ‘Fabric of Onehunga’ (a personal favourite) and many more.

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siliconecnz-blog · 8 years ago

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Structural Engineering Services New Zealand - Siliconecnz

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siliconenz · 8 years ago

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Structural Engineering Services - Siliconecnz

Siliconec NZ provides Structural Engineering services for Civil Construction, Structural Engineering Services New Zealand, Steel Construction Drawings, Structural Engineers Auckland, Beam Calculations, Fabrication Drawing for 2D, 3D, 4D, 5D, 6D, Innovative Conceptual Design & cost-effective.

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siliconecnzfirm-blog · 5 years ago

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Rebar Detailing Service Hamilton - Silicon Engineering Consultants Pvt Ltd.

A rebar is basically a simple or a plain steel bar which is generally incorporated in steel and reinforced concrete structures. Silicon Engineering Consultants Pvt Ltd is provide a consistently high quality Rebar Detailing Services Hamilton, NewZealand. We have experts rebar detailers have expertise in managing rebar drawings and design used in a variety of industries.

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my-dear-anonym · 7 years ago

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Falling Through Time: Book 3

It’s been forever, I know. I have no excuses for you. Well, I do, but they don’t matter. *Debates rewriting this entire thing...again*

Masterpost

Jamilton Series Masterpost

Basking in Starlight

Part Two

Graveyard

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Warnings: Sass

----

Alexander had a similar obsession with the Founding Members. A group of random people coming together to throw off a tyrannical and oppressive government, fail, and push through twice more. Amazing really. Sure, the world wasn't perfect but it was a lot better than it used to be. Records indicate that things plummeted and became a real hell hole.

What really bothered him was that Jefferson and Hamilton had kept intricate records of everything, right up until the accident. When Hamilton got shot...again.

Jefferson and Hamilton or George Fredericks, nothing was clear between those three. Alexander's best guess was that some sort of deal went down. History books didn't cover it very well and every real history nerd knew that history was biased. The winners write history. That's how it's always been.

Alexander looked up from his holopad, letting it blink off as he leaned back and looked up at the sky, his back hitting the cold stone behind him. It was green, just like everything seemed to be these days. It would've been a wonder to see whole cities of sparkling glass structures that reached into the sky. Most of the ones they had now had been overrun by plant life, vines shattering the windows and crawling through office spaces. Flora bloomed everywhere and trees grew taller than some of the skyscrapers. It was all just so green. A shame Alexander wasn't born three hundred years ago to see the sparkling glass towers and the busy city streets.

The blue sky was wonderful, sure, but Alexander had seen what colors it could turn and what nature really was. Disasters and mankind's natural enemy. He tore his gaze away from the waving branches to the grass covered ground and the weather eroded white stone he sat atop of. This was his favorite place to go just to think and write. He read the markings on the stone upside down.

Alexander Hamilton

He didn't bother reading the dates or the epitaph. Alexander had read it enough times to have it memorized. That's right, he was sitting on top of a Founding Member's headstone. Thomas Jefferson's was just one grave plot over. The founding member's graves were spread all over the country but Hamilton's and Jefferson's were together in death just as they were in life. It was kinda funny really, it was kinda obscure where they were planted in the end. No one really bothered to remember. Alexander stumbled across them though he supposed with proper research, someone could find them.

They'd been buried right beside the original Founding Father's graves at Monticello. It was kinda creepy but Founding Member James Madison had insisted. How could anyone refuse? So it was Jefferson, Hamilton, Jefferson, Hamilton. Hey, if Alexander died, could he be buried here too? People would get so confused.

That's when he noticed he had been clicking his pen absentmindedly, accidentally turning the holopad's screen on and off over and over again. He clicked it back on, playing with the settings until his pen reformed into a quill. It wasn't a real quill, obviously, they were too difficult to travel with since they needed inkwells and shit. Summoning holopads and going for the look was much easier. Alexander let the floating screen disappear and kept the pen active, lying back and drawing in the air. Just doing random designs until he spaced out, his hand continuing on its own.

He'd come so far in so little time. He felt like he had some sort of purpose, something he was supposed to do and he just couldn't figure it out. Alexander was looking for something and it eluded him. "Did you feel the same way, Hamilton?" Alexander joked. Who was he kidding? He was sitting in a graveyard in Monticello talking to a dead man.

Alexander refocused on his drawing. "Aw shit, not again." The writing swirled through the air, light shimmering in each floating letter. Thomas "Yes, yes, I know. Thomas. Do you know how many people named Thomas there are in the world? Every other person you run into is named Thomas or Alexander or fucking Aaron. Seriously. How does this help? A last name would be much more useful. Great, now I'm talking to myself and holopens. Fucking great."

"Just pretend you're talking to the dead people you've never met. That's a lot creepier," another voice drawled.

"Holy shit!" Alexander jumped, the sudden voice startling him and sending him flailing off the gravestone and crashing into the ground. "What the fuck man?!" Hamilton demanded, pushing himself off the ground as the other man laughed.

"Did I surprise you? To involved in your conversation with yourself?"

Alexander flushed with embarrassment, "Shut up, asshole, you're the one who snuck up on me!" Alexander exclaimed, taking in the appearance of the intruder to his peaceful place. Tall, lean, dark-skinned and curly haired. He dressed a little too well for wandering about in the forest. Sure, he dressed simple, dark slacks, a magenta button up with the sleeves rolled up, and a gray vest buttoned over it, but the fabric itself was too pristine.

He shrugged, walking over and examining Jefferson's grave, completely ignoring the light that was shimmering in the air. "It's not my fault you weren't more aware of your surroundings. You think you would be with all the dangerous wildlife wandering about." He stood up and looked at Alexander. "So, what's your name?"

Alexander crossed his arms, "Alex. Yours?"

He held up a finger in a sign for Alex to wait for a second before walking over to Alex's scribbling and gestured dramatically at the shimmering name written there and taking a dramatic bow, "Thomas, at your service."

"Fucking great, another Thomas, who would've guessed."

"You're one to talk, Alex."

"Shut the fuck up."

"You say that a lot."

Alex was about to repeat it again but stopped himself. "I was peaceably seeing to my work and I'd like to get back to it if you'd please leave."

"Work? You mean scribbling your boyfriend's name in the air and mumbling to yourself? I'm actually here for a reason other than drawing little hearts so I have every right to stay."

"Oh? And what could possibly be so important?" Alex asked.

"I'm researching the Founding Members."

"Well so am I and I was here first so you can fuck off. In fact, I actually professionally write about them so I have even more reason to be here."

"So immature. Isn't it possible for both of us to stare at a thousand-year-old graves that will tell us absolutely nothing whatsoever in the name of research?"

Alex felt personally called out by that statement. "Why are you so interested in them anyway?"

"Well it started with sharing the same name as him," Thomas jerked a thumb at Jefferson's grave, "And it just kept growing."

"Oh yes, you're so special, sharing a name with a founder just like all the other millions of Thomas'"

"Fuck you," Thomas said, setting down his black case by the grave, "Not everyone can claim the last name too."

"Your last name is Jefferson?" Alex snickered, "You can't be serious."

"Like yours is better."

Alex smirked, "Hamilton. Way better than Jefferson, I think."

Thomas froze which caught Alex slightly off guard, he had been expecting a comeback. "Hamilton?" he asked.

"Yeah, what of it?" Alex asked, getting slightly nervous. Sure, it was cool to share a name with a founder but he never got reactions like that.

"You're the first Hamilton I've ever come across."

"So?"

"It's-nothing," Thomas answered.

"Nothing?"

"Nothing."

"I'm insulted."

"You're entire existence is an insult."

"Go away," Alexander said.

"Why? I'm rather comfortable.

----

#jamilton #falling through time #book 3 #falling through time book three #basking in starlight

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timespakistan · 4 years ago

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Islamophobia: Causes and consequences Islamophobia, a term expressed to depict fear of Islam is widely used to connote indiscriminate attitudes, beliefs and emotions directed towards Islam or Muslims. In reference to the Oxford English Dictionary, the word Islamophobia means “Intense dislike or fear of Islam”. It was first coined by French Scholar Alain Quellien, as ‘’Islamphobie” in 1910 to describe a prejudice against Islam that is rife among the people of the West. Later, it was adopted by English Literature in 1923. As a concept in practice, it is considered a new word of an old notion presented by Edward Said in his work on Orientalism where West has always been associating derogatory sentiments and stereotypes to the practices of Islam. The term Islamophobia developed in late 1990’s and early 2000’s by political activists, non-governmental organizations, commentators, international organization to draw attention towards the evils of a rhetoric bringing harms directed towards Muslims and Islam. Yet Islamophobia emerged on the plane of international discourse with the publication of a report by the Runnymede Trust in 1997 titled; ‘’Islamophobia: A Challenge for all of us’’. It laid down the concept of Islamophobia as a useful shorthand way of referring to dread or hatred of Islam – and therefore, to fear or dislike of all or most Muslims. In 2004 United Nations Secretary General Kofi Annan opened a UN conference on “Confronting Islamophobia” with the lament, “When the world is compelled to coin a new term to take account of increasingly widespread bigotry, that is a sad and troubling development. Such is the case with Islamophobia.” According to Imam Dr Abdul Jalil Sajid, chairman of the Muslim Council for Religious and Racial Harmony UK, Islamophobia is “the fear and/or hatred of Islam, Muslims or Islamic culture and history. Islamophobia can be characterized by the belief that all or most Muslims are religious fanatics, have violent tendencies towards non-Muslims, and reject as directly opposed to Islam such concepts as equality, tolerance, and democracy” (RISC 2011). The Terrorist Attack of 9/11 provided an impetus to the rise of Islamophobia. After the attack of Twin Towers Islam was being viewed as a conservative, barbaric and intolerant perspective of life. Muslim was posited as blood thirsty savages under the banner of a monolithic religion. The West holding the power to Information Technology spread the acrimony, condemning Muslims to racial discrimination and ridiculed Muslim community as perpetrators of violence and unrest in society. With the rise of Islamophobia across the board, the far-right political parties of liberal western communities gained momentum in exploiting the subjected minorities of Muslims to confer political gains. Islamophobia became a subterfuge to add defamation to Islam by public commentators and political actors. The 2016 Presidential elections of America were one of the most acrimonious and confrontational campaigns in the history of America. Extraordinary political rhetoric, outbursts in distasteful discriminatory tones, and anti-Muslim invectives blemished the campaign of United States (US) Presidential Elections of 2016. To endorse his political agenda, Donald J. Trump speciﬁcally focused upon Muslims as a grave issue, and likely toyed with the public pulses, which resulted in an unpredictable election result. Mirroring the perceived reality, media as an invention of information shapes public opinion. Media reports after 9/11 specifically underrepresented Muslim views and negatively portrayed Islamic culture. Islam was painted as a religion of discrimination, radicalization and regression by the Western media. With the advent of digital media, providing a carte blanche demerited the situation further. The rhetoric of Islamophobia dispersed hatred speech & acts of defamation on social media websites backed by the freedom of speech narrative. Social media being a personal medium of communication galvanized the connotations of Islamophobia and intimidated Muslim minorities living in liberal Western communities. Society deprived of inter-faith harmony glaringly promotes intolerance and rejection towards those who is considered other. European countries including America and Canada practiced anti-Semitism long before Islamophobia surfaced. The hate of Muslims towards Jews and of Jews towards Muslims persists even in today’s scenario. Terrorist attack of 9/11 and shooting in Orlando’s night club reinforced the primitive visceral hatred towards Muslims and Islam, exacerbating the discriminative attitudes and tarnishing the fabric of freedom for all narrative of Western society. Islamophobia, a narrative delegated to hatred and intolerance took its toll on the Muslim minorities resided in Europe and America. Bin Laden became a schoolyard taunt and banning Muslim women from wearing hijab, a public policy. Implicating Muslims with discriminations in political, social and civic life became a normalized attitude by the authorities. Surveillance by security agencies in order to keep radicalization at bay and interfering with practices of Islam demonstrated consequences far beyond the imagination. In the wake of events like 9/11 and with the rise of ISIS and Al-Qaeda, West launched a military operation to quell the terrorism machinations. In quest to quash Talibans of Afghanistan, a full fledge operation was launched by Western forces on 16 September, 2001. Furtherance of the military operation was seen by the world as Operation Inherent Resolve to quash the ISIS in Middle East. Fallouts by use of cogency to suppress the militancy had adversarial effects. It led to displacement of indigenous innocents and anarchy for the state structures. The aftermath of Islamophobia’s notion was evidently witnessed during the refugee crisis resulting from Arab Spring specifically during and after Civil War of Syria. Hundreds of thousands were displaced and was seeking refuge in the modernized Western states. Engulfed by the fear of Islam and hatred rooted deep in conscience towards Muslims, the European countries demurred the refugees entering their premises. The far-right political parties of the West depicted the war-torn refugees as invaders of freedom to culture and Western values. Rallies and protests were carried out extensively against the refugee situation and the debate of Us versus Them surfaced in the legislative bodies of the Western societies. The provocative phobia of Islam, hurtling in the Western society presents itself as propensity of violence and vandalism. The antipathy of Westerners towards followers of Islam turned out as harrowing for Muslims in West. A report published by the Federal Bureau of Investigation (US) states that more than two thousand anti-Muslim offenses have been perpetuated in United States alone. The Kingston mosque incident where English vandalized the holy premises of worship and attack of violent mobs in Hamilton City of Canada on Muslim Education centres and mosques is another story of the liberal region. One major incident reported as a backlash of Islamophobia was shootings in New Zealand, where 51 Muslims were subjected to death. The pretext of ‘national security’ in a post-9/11 world is particularly useful, being an amorphous concept that can be made to fit any inconvenient truth and throttle indicted to discriminatory shenanigans. Alienation of Muslims from political and civic life in upgraded societies of West is an epitome of Islamophobia. The unemployment rate for followers of Islam was seen at pinnacle especially in United States and European countries. Subjected to discrimination in education sectors, the repugnancy of Islamic views with the values of West was deplored on behest of Islamophobia. Travesties of Muslims as subjugators, discriminatory attitudes of authorities were considered just. Irreverent attitudes of the West towards the diaspora of the East proved to be harrowing for Muslim women and children. The Council on American-Islamic Relations’ in California surveyed 11 to 18 years old Muslim students to examine their experiences in school and reported that 50% American Muslim students were bullied based by the hatred towards Islam. In France, incidents of pulling scarfs of Muslim women in public was highly reported. Islamophobia, as a just reason of hatred provided abyss for the most vulnerable community of Muslims minority residing in the West. As a principle, it is the duty of United Nations and its law enforcing organs to maintain International Peace and protect its subjects from Human Rights violations. The world post 9/11 witnessed the failure of United Nations and its law enforcing organs. A research conducted by Brown University states 200,000 & 40,000 civilian causalities in Iraq and Afghanistan respectively. Arab League Envoy to Syria put out an estimate of 400,000 that had died in the Civil War. The supreme of all states and international protector of civil rights was proved as a fiasco. The on-going atrocities of Indian Military on the besieged Kashmiri’s resulted in 51,000 civilian casualties from 1989-2018 but as the Guardian Angel of Human Rights, United Nations neutrality to the conflict is questionable for the supremacy of International Humanitarian Law. https://timespakistan.com/islamophobia-causes-and-consequences/7851/

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ishubhampatil09 · 5 years ago

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Offshore Patrol Vessels Market To Surpass US$ 18.8 Billion By 2027 - Coherent Market Insights

The seaward watch vessels are basically intended to perform reconnaissance activities in the elite monetary zone (EEZs) and other operational assignments, for example, assurance of transportation paths, against theft watches, and beach front security. Besides, maritime seaward watch vessel contracting administrations are presented for the insurance of the elite financial zone (EEZ) against sea guiltiness, theft, marine contamination, and human and weapons or medications dealing. The maritime seaward watch vessels (NOPVs) are watch transports that are furnished with excessively quick weapon mount (SRGM) framework alongside AK-630M firearms that offer medium and short range guarded capacities. The weapon is distantly controlled through an electronic Fire control framework. Also, the watch ships are fitted with diesel motor driven impetus frameworks that offers fast and the boat tasks are constrained by a keen stage the board framework, which has interfaces for every operational movement. For example, in May 2018, The Indian Navy conveyed seaward watch vessels Sumedha, for joint reconnaissance of restrictive monetary zone (EEZs) for Maldives.

50 M to 90 M fragment is relied upon to show most noteworthy development rate during the estimate time frame

Among sizes, the fragment 50m to 90m is relied upon to observe most elevated development during the conjecture time frame. The portion was esteemed at US$ 4,397.51 Mn in 2017 and is required to reach US$ 6,396.99 by 2027 at a CAGR of 3.9% over the conjecture time frame. These boats have length from 50 meter to 90 meter and are basically utilized for coast guarding, reconnaissance, and protection exercises. They are likewise utilized for policing tasks, salvage activities, embarkation and activity of ALH helicopter for long range unequaled pursuit, and contamination reaction against oil spillage and outer putting out fires among others. Such vessels are utilized in naval force tasks. For example, River-class watch vessels are essentially worked for the Royal Navy of the U.K. with length extending from 79.5 meters to 90.5 meters. Besides, the Arafura class are multi-reason, warship class ships in the Royal Australian Navy has length estimating from 80 meters. This boat will be utilized seaward and littoral watch, mine fighting, against fear mongering and hostile to theft tasks, outskirt insurance, and hydrographic overview. BAE Systems is one of the prestigious developers of 90 meter seaward watch vessels and is as of now working for five 90 m seaward watch vessels for the second bunch of the British Royal Navy's River-class.

Figure. Worldwide Offshore Patrol Vessels Market by Size (US$ Mn), 2017 and 2027

Seaward Patrol Vessels | Coherent Market Insights

Read More - https://www.coherentmarketinsights.com/market-insight/offshore-patrol-vessels-market-2822

The epic structure and progressions in innovation has changed the 50M to 90M class of watch vessels. The more current adaptations are more flexible, have better adaptable plans, and convey more effective tasks. Watch vessel with length 90 meter can involve around 60 work force and can convey up to 50 set out soldiers or travelers. These have upgrade flight deck to work helicopters and have progressed framework including virtual advancements to incorporate weapons, the board frameworks, sensors, and other point by point frameworks for complex warships. For example, BAE Systems' River-class vessel offers comparable highlights with incorporation of cutting edge CMS-1 battle framework to give strategic picture gathering, arranging, situational mindfulness, dynamic, and control of weapons from its natural consoles in littoral tasks. The battle framework likewise helps the North Atlantic Treaty Organization (NATO) and other alliance missions. BAE Systems' 90meter seaward vessel is furnished with an air reconnaissance radar, which can be utilized to distinguish low-flying airplanes (which are utilized for carrying activities). It has 30 mm little gauge firearm framework furnished with it, which can draw in fast inshore assault create outfitted with short-extend rockets, automatic weapons or explosives, rockets, and rocket-moved projectiles. It highlights 20 meters in length flight deck and can land just as fuel a medium-size helicopter weighing as much as 7 tons.

Interest for such vessels has seen steady development, attributable to their capacities, operational proficiency, and progressed highlights introduced in them. For example, according to Coherent Market Insights, Indian Government requested 16 new 55 meters ASW watch ships in 2015. Besides, in January 2019, the Armed Forces of Malta marked an agreement worth around US$ 40 Mn with Italy-based shipbuilder, Cantiere Navale Vittoria, for the development of a subsequent reason fabricated seaward watch vessel, which will be utilized in watching Malta's regional waters. The boat measures around 74.8 meters long and can arrive at the speed of around 20 bunches.

Read More - https://www.coherentmarketinsights.com/press-release/offshore-patrol-vessels-market-to-surpass-us-188-billion-by-2027-1646

Worldwide Offshore Patrol Vessels Market: Key Players

Significant players working in the worldwide seaward watch vessels industry incorporate Austal, BAE Systems, Damen Shipyards Group, DEARSAN, Fr. Fassmer GmbH and Co. KG, FINCANTIERI S.p.A., Fr. Lürssen Werft GmbH and Co. KG, Hamilton Jet, Israel Shipyards Ltd, Eastern Shipbuilding Group Inc., STANLEY BOATS, Marine Alutech OY AB, J.D. Irving Group of Companies, Japan Marine United Corporation, Kangnam LCorporation, Kawasaki Heavy Industries, Ltd., L&T Shipbuilding, Mitsubishi Heavy Industries, Ltd., Navantia, SOCARENAM, STX Offshore and Shipbuilding Co., Ltd, and Garden Reach Shipbuilders and Engineers Ltd.

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siliconeccanada20 · 6 days ago

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iindex · 8 years ago

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Five Tyres Remoulded by Richard Hamilton

Describing Five Tyres Remoulded Hamilton said, 'the paradox of a shallow relief print of a perspectival projection was the main interest of the project.'

Hamilton's first prints were dry points done at the Central School of Art in 1939; since then he was a prolific print-maker. The impact of technology was the theme of Hamilton's exhibition 'Man, Machine and Motion', staged for Newcastle and the ICA in 1955. Hamilton's 'Five Tyres Remoulded' portfolio included a text reporting its own research and development (as it were) and discussed his fascination with an illustration from a 1951 issue of 'Technique et Architecture' which showed the development of tyre treads from 1902-50. From 1951 to 1963, when Hamilton made perspective drawings leading to the 1964 print, the image stayed on Hamilton's pin board and became a slide used in lectures.

The 1964 version was a screen print, but the original idea had been an etching deep enough to emboss the paper, an aim finally realised a decade later when the image was machine-cut in a brass plate and the print cast 'by spreading on the plate a silicone elastomer (manufactured as a flexible mould material), then reinforcing with a non-woven Terylene cotton fabric.' The project had been revived in 1970 when an American dealer offered to find a US computer programmer interested in plotting the perspective with a computer. Sherill Martin at Kaye Instruments organised the computer formulation of the perspective using a general FORTRAN programme called CAPER (Computer Aided Perspective). The screen prints were printed by Frank Kicherer, Stuttgart, the text by E. Schreiber in the same city. The relief cast was made by Hartmut Freilinghaus of Hamburg.

However, apart from the interest in technology and design, there is clearly another aspect to this whole project. The clue here is given by the initial 'impossibility' of the completion of the calculations (due only to human loss of interest, hence the 'abandoned' adjunct of the original title) and by the complete documentation of the history of the project within the 1974 portfolio itself. The initial stage coincides with the 1963 retrospective of Duchamp's work at Pasadena, which Hamilton reviewed for Art International, though his involvement with the idea of the Green Box goes back at least to a 1959 review for Uppercase 2. As Hamilton wrote of the Green Box, the written text was a commentary but also existed within the work 'as a literary component of its structure'. As is the case with Duchamp, Hamilton's approach to graphic plotting is equally comparable to an engineer's.

Hamilton also undertook the making of a replica of Duchamp's Large Glass for the Tate Duchamp retrospective. Five Tyres Remoulded takes one aspect of Duchamp's work on board: that of driving a procedure to its exhaustion. Duchamp referred once to the importance for him of the idea of tautology in logic and mathematics, the repetition of a simple theorem or premise to the level of extreme complication. Hamilton's 'Five Tyres Remoulded' is an extreme complication of that initial, visually simple image of 'the historical progress of a technical quest.'

#Richard Hamilton #Marcel Duchamp

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littlewritingrabbit · 8 years ago

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Lams + 2! (And I'm still gonna write your prompt btw, just getting together the idea in my head!)

Lordy lordy I hope you signed up for the angst. I figured this would take place at the tail end of the Battle of Germantown after Laurens was injured. The whole Grand Tour idea was a thing lots of young guys did in the 1700s, where they would tour around Europe as a ‘coming of age’ thing, partly to learn about culture, but also partly to get all the partying out of their system before coming home and settling down to being responsible. Mostly this was done by lads in Europe, but also some from the US, so I guess it’s feasible for Hamilton and Laurens, if they were planning on taking some time before going into government after the war (not that that was likely, but hey, it’s a ficlet :p). (A great book that I got the idea from is called The Gentleman’s Guide to Vice and Virtue and it is spectacularly bi and I love it.) Also - pls excuse the rubbish formatting, I typed this up on Word first XD

Prompt: Lams + “Things you said through your teeth.”

Alexander Hamilton had given up all pretense of writing. He had pestered Ensign Allard for a glance at his pocket-watch enough times that the poor soldier rather conspicuously got up and left the mess tent, leaving him alone with increasingly desperate thoughts.

How long was a battle supposed to take? He’d heard of naval battles that took hours, or infantry attacks that took days. In the Trojan War they had fought every day for years. That wouldn’t be the case today, would it? There were a lot of things that could have gone wrong after – how long had it been? Hours? Had it surpassed a day yet?

Hamilton pressed the heels of his hands into his eyes until stars flashed into being behind his eyelids. He felt very small and very full of compressed energy, like a tightly-coiled spring. He should be out there, in the heart of the conflict, at Laurens’s side.

And what if that sandy head of hair returned slick with blood, shading a now-dull pair of eyes? Or didn’t return at all? He tried not to think, but the thoughts arrived unbidden anyways – fixed bayonets aimed at the pale skin over Laurens’s heart, blood running over those shoulders like the stone of a statue where he had piled up his hopes. What if the pink lips heaved their last gasp before he ever had a chance to kiss them? Because, he wasn’t going to fool himself, it was a very tempting eventuality.

It took waking to make Hamilton realize that he had drifted into a sort of restless sleep. Some commotion was evident on the road into camp, horses’ hooves, scattered yells, and then structured orders of some sort. He smoothed his hair back, equal parts apprehension for news of the battle, and indignant for not being allowed in the attack.

The first wounded soldiers had returned. And they looked terrible.

His own small body had seen its fair share of injuries. When he was ten he had fallen out of a tree and sliced his arms on all the branches the whole way down. He’d sprained an ankle, bloodied his nose in a fight, and burned his fingers learning to melt wax seals, but that was not even comparable to some of the returning soldiers. Half could hardly keep upright on the skittish horses they rode in on. Alexander scanned them all, just in case John was among the bloodied faces and torn uniforms. He’d tried to memorize his appearance before he turned back so as to not see the regiments leave that morning, uncertain whether it would be the last time he got to see it or not.

The sky started to lighten. It felt like frost was creeping over his guts. More wounded soldiers arrived, screaming bloody murder or muttering weakly for a medic. Alexander wondered which was worse.

And then he was running. Before he even knew why, he was dashing across the path and catching the reins of the bolting horse as the familiar rider slid weakly from the saddle and into the arms of whoever was nearest. “John,” Hamilton moved to prop up his other shoulder, only to draw back quickly. It was soaked in blood, turning the blue fabric to purple and dripping thickly, almost like paint, from his fingertips. “You’ve been shot,” he said, rather obviously.

In answer, John gritted his teeth and let his head rest on Alexander’s shoulder. The medic was a tall, thin man with wire-rimmed spectacles. He looked like the type one might find in a library rather than a military camp, but his hands were steadier than Alexander’s. He eased John onto a cot that was more table than bed. “Thank you sir, I’ll take him from-”

“May I stay?”

“If you’re willing to help, you can stay. But it’s not going to be easy, nor pretty.” The medic spoke so fast Hamilton wouldn’t have been able to get a word in had he tried. He tore a sizeable opening through the uniform coat before anyone could protest, and Hamilton’s dazed brain could only think of how purple fabric signified royalty, how Laurens had almost looked royal when he rode out with his hair tied back and his face the picture of determination.

“Since you’re here,” said the medic grimly, “I’d ask that you help me in holding his arms down – we need to remove the bullet and it’s not going to be comfortable.”

John tugged weakly on Alexander’s sleeve. “Is this Hell?” he asked, hardly louder than a whisper.

“No, no it’s not, believe me, you’re not bound for Hell,” Hamilton tried to be comforting, brushing his dear friend’s hair off his forehead.

“No… I… aarrgh… I ki - killed… redcoats… Alex, I-”

“Drink this,” said the medic. Whatever it was, it must have been pretty strong, because John grimaced and relaxed somewhat. “Now please make sure he doesn’t attempt to punch me,” the medic exhibited a notable purple bruise on his jaw with a sigh, “As others have tried it before and it not only ended badly for me, but they also tore their stitches. Hold him still.”

“Hold still John,” Alexander repeated, unsure whether or not his friend was listening. His eyes were wandering around, tracing the shapes of the rafters. Without ceremony, the medic got to work picking for the bullet with a sharp instrument that made Hamilton nervous. He spared a silent prayer in thanks that he had decided to study law, as opposed to medicine.

John screamed. All his muscles employed themselves in attempting to get away from whatever was causing him so much pain, though Alexander held him fast. While Hamilton was typically a firm believer in the “bear it quietly and bravely like a gentleman” mindset, he could understand this particular outburst. The medic’s fingers were soaked in blood, but he could somehow still maintain a decent grip on the knife he picked up.

“Keep him awake,” muttered the surgeon.

“Hey. Look here. Jac, look at me.” John looked around, eyes fixing on Alexander’s face, somewhat in confusion at the use of a nickname he hadn’t heard in years. “Jac, I need you to tell me what you plan to do after the war.” Laurens looked at him as if from a great distance and streaming eyes. “Science,” he said, through gritted teeth. “I’ve always wanted to study- AARGH!!” he screamed again.

“Good,” Alexander glanced over. The wound was certainly opened, and the medic pressing down on it, poking through the blood to find the bullet. “Where will you study?”

“I – ah – I dunno…” John muttered thickly, letting his head fall to one side.

“Europe?” Alexander squeezed his arm.

“Europe…” he nodded through a weak gasp, “Good plan.”

“Yes, I’m full of those. I’ve another one, you just have to stay awake for me, alright Jac?”

“’m awake…”

“A grand tour. We’ll travel all around Europe, see all those sights, eh? The opera houses and the ruins and scientific lectures, everything. How would you like that?”

“Museums,” muttered John, though he could hardly move his jaw for clenching his teeth so hard. “And theatres. And Gil could show us his house.”

The medic prepared another frightening-looking implement. “Just once more and then I ought to have it…”

“What do you bet it’s a castle?”

“It’s a damn castle,” said Laurens.

One last scream and one last wash of blood left him lying back almost peacefully, the tears drying as the medic finished off the stitches. “Give it a few days,” he told Hamilton. “He should be alright as long as there is no infection.”

Hamilton slumped back onto a camp stool beside Laurens. Even so bloodied and exhausted he looked like the kind of hero that Alexander had doubted ever existed. So the battle had spit him back out, alive for the most part. It had been far too close. I’ve got to tell him, he thought. He could be taken so easily, I have to tell him that I would have gladly been his Achilles, were he to fall like Patroclus. Life was so short, and he’d be damned if he let the most wonderful man he had ever met in all his short, tragic years slip through his fingers again.

“Did you mean it?” Laurens’s voice was still quietly slurred through his teeth.

“Oh. I thought you were asleep. Do you need another drink?”

“Did you mean it?” he was so quiet Alexander had to lean in to hear him, auburn curls brushing his friend’s cheek. “That we would go on a grand tour? And see all those beautiful places in Europe?”

“I… yes. I meant it. We just need to win this war first, alright?”

“That would be easier if you would give me something to drink,” John grumbled.

Alexander rolled his eyes. “Anything for the war effort, I suppose.”

#History AND Writing #Time for a ficlet!

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criticalsuperbeast-blog · 8 years ago

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Living Modern: Hélio Oiticica at the Art Institute of Chicago

Co-organised by the Whitney Museum of Art and the Carnegie Museum of Art. Curated by Lynn Zelevansky, Elisabeth Sussman, Sondra Gilman, James Rondeau, Eloise W. Martin, Donna De Salvo, and Anna Katherine Brodbeck

By Daniel Hutchinson

Hélio Oiticica. Metaesquema, 1958–59. Collection of Diane and Bruce Halle.

A few weeks back I finally got the push I needed to stomach the weak Canadian dollar and head down to Chicago for the first time – the first full-scale US retrospective of Hélio Oiticica, To Organize Delirium at the Art Institute of Chicago. To get to the museum, you first have to pass through a post-modern paradise of landscape design and public art: a curvaceous pedestrian bridge (Frank Gehry), an immense polished steel bean (Anish Kapoor), an ecstatic exploding bandshell (Gehry), and other eclectic features. After all of that sensationalism the formal restraint of architect Renzo Piano’s thoughtfully restrained addition to the Art Institute of Chicago provides a welcome invitation. Inside, a late modernist story plays out across the work of the Brazilian neo-concrete artist that I was there to see, a visionary who arrived at the story of modernism in the 1950s and pushed European abstraction past its dogmatic hermeticism, radically, into the social space of our lived experiences.

Born in 1937 in Rio de Janeiro, Oiticica was a prolific artist who made sophisticated contributions to the abstraction as a painter and later, as an interdisciplinary artist. He innovated radical new categories and forms for art with non-narrative experimental films, installations, penetrable paintings, and “parangoles” – flexible colour structures made to be worn over the body and which were designed to be performed by samba dancers and everyday citizens. Consistent across most of this work is his exploration of abstraction, especially the formal elements of plane, shape and colour. Oiticica’s formalism echoes the look and disciplined rigour of European concrete artists such as Max Bill and Theo van Doesburg, but like other neo-concrete artists such as Lygia Pape and Lygia Clark, Oiticica eschewed industrial finish and formal austerity, emphasizing greater sensuality, participatory engagement, symbolic and even political messages. Where concrete artists looked to cerebral formalism, Oiticica looked to the Brazilian Carnival.

The exhibition introduces Oiticica’s work predictably, by chronology, but quickly moves the viewer through a greater complexity of experiences by overlapping works made throughout the 1960s and 1970s in London, New York, and upon returning to Rio de Janeiro in 1980. Just before the entrance to the feature exhibition, in a small side gallery we find early examples of the artist’s refined and understated gouache on cardboard geometric abstractions from the late 1950s displayed among works by other Brazilian neo-concrete artists. The exhibition opens in earnest with a suite of expanded paintings – suspended spatial reliefs made from wood and painted in closely related colours. Born from the geometric precision of the 2D gouache works, these folding planes and shifting geometries produce a surprising lightness of colour and introduce new elements to the discipline of painting: time, space and chance.

Hélio Oiticica. NC6 Medium Nucleus 3 (NC6 Núcleo médio 3, 1961–63) at Rua Engenheiro Alfredo Duarte, Rio de Janeiro, n.d. César and Claudio Oiticica Collection, Rio de Janeiro.

The central feature of the exhibition is found in the largest gallery with two of the artist’s most important environmental “penetrables.” Eden (1969) and Tropicália (1967) are impressive examples of what would later be called installation art. Both works are sprawling, sand-covered pavilion-type spaces containing small favela-like structures made from painted wood platforms and walls, woven natural fences, primary coloured tarpaulin tent-forms and other tactile fabrics of varying colour and translucency. The results are labyrinthine zones for sensorial interaction, relaxation and refuge. The small pavilions, stone pathways and walls help with navigating the space, but the experience is punctuated by less predictable encounters with arresting sensations: the gritty leaves of too-dry tropical potted plants; the salt-earth smell of accumulated sweat embedded in the natural textiles and wooden walls; the cool sensation of water underfoot in a small square pond followed by the inevitable grit of wet sand caked between toes. Vividly-hued tropical birds squawk brightly from their cage and claustrophobic dank corridors spiral inward to a black-and-white television tuned to a local Chicago broadcast blaring car ads and infomercials. Both works contain space for privacy, relaxation and reflection. It is from here that the exhibition orients the remaining works in the show, around the transitory sensations and creative experiences of each viewer now changed through creative leisure, or what the artist called “creleisure.”

At this point we might imagine that Eden and Tropicália represent the most mature works to date, their radicalism arrived at only by advancing through the evolutionary stages of the gouache drawings and coloured environments, but evolutionary metaphors as curatorial methodology don’t always work. The risk here is that such linear structures can replace engagement with historiography or tokenism (Latin American artistic emancipation from the Euro/American modernist narratives) or, more damagingly, superimpose the myth of the artist genius overtop of the experiences of each unique participant. The curators tread this line carefully and use the larger halls of the museum to great effect, de-emphasizing the artist’s timeline by intermixing works from different media and periods, while using smaller connecting galleries to introduce the visitor to Oiticica’s eloquent writing found in his volumes of notes and textual propositions.

Luiz Fernando Guimarães wearing Oiticica’s P30 Parangolé Cape 23, M’Way Ke, at the West Side Piers, New York, 1972. Private Collection. © César and Claudio Oiticica, Rio de Janeiro.

For an artist who’s primary goal was to expand the individual’s capacities for creative play and discovery, the challenge for any curator is to get themselves, the institution and the biography of the artist out of the way of the art while producing a cogent exhibition which contributes meaningful scholarship. To the credit of the team of seven curators, To Organize Delirium seems to measure this challenge, putting the emphasis not on Oiticica as an avant-garde outsider belonging to the past, but on his works, which appear charged with creative potential for contemporary audiences.

Anecdotally, To Organize Delirium is maybe the least instagrammable exhibition I‘ve seen in years – not because it isn’t captivating and beautiful, but because the environments were so engrossing that every gallery-goer I saw on that busy Saturday seemed to have forgotten entirely about documenting their experiences. This vitality of experience spills over from Oiticica’s installations and affects the documentary films, non-narrative cinema environments, and more immersive installations in the remaining galleries. The result is a compelling contradiction: the work is undeniably tied to the past – born from the social and political upheavals of the 1960’s – and yet seems completely effectual to audiences a half a century later.

Hélio Oiticica. PN27 Penetrable, Rijanviera, 1979. César and Claudio Oiticica Collection, Rio de Janeiro.

Daniel Hutchinson is an artist living in Hamilton, Ontario. Upcoming exhibitions include the group show Sparrow Night at Museum London and a two-person exhibition at Angell Gallery, Toronto.

#criticalsuperbeast #hamont #artcriticism #danielhutchinson #hélio oiticica #brazil #interdisciplinaryart #multidisciplinaryart #wearables #installationart #thewhitney #art institute of chicago #carnegiemuseumofart

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