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Tag: multi-channel
HALO 0.1 / 0.2 / 0.3
Posted on June 18, 2018 March 7, 2022 by semiconductor
HALO 0.1 / 0.2 / 0.3, 2021
x3 CG animations on square screens, silent
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
Three animations made with raw data from the ATLAS detector at CERN particle physics laboratory, Geneva, Switzerland. Removed from its scientific framework, the data becomes a physical form in its own right, something to explore as an artistic medium. Each animation offers a different perspective of the data, presented on custom made square screens.
HALO 0.1 / 0.2 / 0.3, Broken Symmetries, Kumu Art Museum, Tallinn, Estonia, 2021. Photo: Stanislav Stepaško / Kumu Art Museum
HALO 0.1 / 0.2 / 0.3, National Center of Contemporary Arts, (CNAC), Santiago, Chile, 2019. Photo: CNAC
HALO 0.3, 2018
Posted in ArtTagged animation, black and white, CGI, custom tools, data, data visualisation, everything, geological time, invisible, man and technology, multi-channel, science
Where Shapes Come From
Posted on September 30, 2016 March 7, 2022 by semiconductor
Where Shapes Come From (still), 2016
two channel HD + single channel HD
Where Shapes Comes From is a moving image work which considers how science translates nature, on an atomic scale.
Filmed in the mineral sciences laboratory at the Smithsonian Museum of Natural History, a scientist goes about his daily work in rock and mineral preparatory labs; cutting up large meteorites and preparing mineral samples for scientific study. Accompanying this, mineralogist Jeff Post describes the coming together of atoms to form matter. He details formations of organised structures and patterns as if they are happening in real-time, in front of our eyes, transcending time and space.
Raw seismic data, collected from the land forming Mariana deep sea trench, has been converted directly into sound and controls computer generated animations, which are composited into the labs. They depict interpretations of visual scientific forms associated with atomic structures, and the technologies which capture them. Sitting alongside these animated formations are hand-made assemblages of discarded materials and other curiosities, which now bear human signatures. They unite in bringing a sense of playfulness and personal touch to the ordinarily rigorous framework of science.By combining these scientific processes, languages and products associated with matter formation in the context of the everyday, they become fantastical and strange encouraging us to consider how science translates nature and question our experiences of the physical world.
Filmed at the Mineral Sciences Laboratory, Smithsonian National Museum of Natural History, Washington D.C. during its 100th year.
Audio made from Mariana Trench seismic data courtesy of the IRIS (Incorporated Research Institutions for Seismology) Network.
Dialogue: Jeffrey E. Post, Geologist, Curator in Charge, Mineral Collection, Smithsonian National Museum of Natural History, Washington D.C., U.S.A.
Scientist: Jonathon Cooper
Supported by Arts Council England.
Co-commissioned by EDP Foundation and Phoenix Leicester.
Where Shapes Come From, Sydney Biennale, AGNSW, 2018. Photo: Document Photography
Where Shapes Come From, Fiber Festival, Amsterdam, 2017. Photo: Fiber Festival
Where Shapes Come From, Le Lieu Unique, Nantes, solo show, 2018. Photo: Martin Argyroglo
Where Shapes Come From, Shenzen New Media Arts Festival, China, 2019
Posted in ArtTagged animation, CGI, chronological, data, data visualisation, documentary, everything, field recordings, generative, geological time, inaudible, installation, invisible, man and technology, Mineral Sciences Laboratory, mineralogy, multi-channel, philosophy of science, science, science fiction, sculptural, single channel, sound controlled
Posted on June 15, 2016 November 28, 2022 by semiconductor
Documentation of Earthworks at SonarPLANTA, 2016
5 channel computer generated animation with 4 channel surround sound
Watch a film where Semiconductor discuss the ideas and processes behind Earthworks here (made by Tom Thistlethwaite/Fabrica Brighton): https://www.youtube.com/watch?v=xkg38zms44Q&t=255s
Watch Semiconductor in Conversation with Laura McDermott, Creative Director of Attenborough Centre of the Creative Arts, on the occasion of Earthworks at Fabrica, solo exhibition, 2020
Earthworks is a five channel computer generated animation, which creates an immersive experience of the phenomena of landscape formation through the scientific and technological devices that are used to study it. Masses of colourful layers are animated by the sound-scapes of earthquake, volcanic, glacial and human activity, recorded as seismic waves, which form spectacular fluctuating marbled waveforms.
Semiconductor have employed the scientific technique of Analogue Modelling, which uses layers of real world multi-coloured particles and application of pressure and motion to simulate tectonic and seismic forces. As the layers become deformed they reproduce the generation and evolution of landscapes in nature over thousands of years, revealing them to be in a constant state of flux.
Semiconductor have acquired seismic data captured as a result of land shifting and forming, from all over the world. There are four distinct sections to the work, each using a different set of seismic data. This includes; glacial, earthquake, volcano and human-made seismic activity captured at La Planta quarry, Spain, to represent the Anthropocene, a new geological era influenced by humans. The data has been translated to audio to form the soundtrack of the work, and simultaneously control the animation of the layers. The data as sound directly sculpts the image, re-animates the landscape, and reflects the symbiotic relationship between landscape formation and seismic vibrations. The seismic audio is rich and full of the intricacies of the dynamics of our planet in motion.
By using seismic data to control the masses of layers Semiconductor are not only playing with the idea that it is these forces that have shaped landscapes, but also that being an event that occurs beyond a human-time frame, landscape formation can only be experienced through scientific technological mediation of nature. It produces information about time, space and phenomena that no human consciousness could possibly have witnessed. It is as if we are watching hundreds of thousands of years played out in front of our eyes, enabling us to bear witness to events which ordinarily occur on geological time-frames.
By adopting the analogue modelling techniques, the work celebrates the revelatory capacities of modern science and technologies to create a kind of technological sublime, whilst simultaneously inviting viewers to consider the philosophical problems posed by such technologically mediated observations of imperceptible phenomena.
Earthworks is commissioned by SónarPLANTA
Produced by Advanced Music
Fundació Sorigué
Sónar Festival/Advanced Music
Nigel Bax
University of Barcelona:
Dr Albert Casas Ponsati
Raul Lovera Carrasco
Mahjoub Himi Benomar
Dr. Josep Anton Muñoz
Oriol Ferrer
Cai Matthews
Jose Luis de Vicente
Salvador Rey Nagel
Seismic data courtesy of the Iris (Incorporated Research Institutions for Seismology) Consortium
Earthworks, Sydney Biennale, 2018
Earthworks, Fabrica, Brighton, solo show, 2020. Photo: Fabrica/Tom Thistlethwaite
Film by Semiconductor documenting the making of Earthworks
Earthworks, Sonar PLANTA, Barcelona, 2016.
Earthworks, The 14th Media Art Biennale Santiago, National Center of Contemporary Arts, (CNAC), Santiago, Chile, solo show, 2019. Photo: CNAC
Earthworks, SonarPLANTA, Barcelona, 2016. Photo: SonarPLANTA
Posted in ArtTagged animation, CGI, city, custom tools, data, data visualisation, field recordings, geological time, inaudible, installation, invisible, man and technology, multi-channel, science, science fiction, sculptural, sound controlled, visual music, waveforms
Catching the Light
Posted on January 13, 2015 March 10, 2022 by semiconductor
Catching the Light, video documentation, ArtScience Museum, Singapore, 2014
multi-channel HD moving image with 6 metre wide Alucore screens
Catching the Light is a moving image installation which explores how science and technology frame our experiences of the natural world.
Created using visual data collected by space telescopes, the six metre wide projection is made up of thousands of images which have been assembled to create time-lapse sequences. By collaging these images of space together, Semiconductor have disrupted their original spatial relationships, to create new patterns and points of reference. They have, in effect, remapped the sky.
By collecting the data in its rawest form Semiconductor are able to present it as the telescope captured it. Ordinarily scientists would remove any noise, anomalies or signatures of the technology associated with the capturing process, but Semiconductor have embraced these artefacts, using them to remind us of how our perception of deep space is framed by the tools and processes of science.
The shape of the screens reflect the space observatories' image capturing process: as they photograph chosen parts of the sky, the trail of images produce assorted shaped arrays, which are then used as points of reference in the data archives. Semiconductor have combined three of these arrays in their native format to make the screen composition. Used in this way they become portholes or windows into the universe, they also suggest that what we are seeing is only a part of a much larger picture.
The screens are installed away from the wall to create floating objects. The aluminium composite material used to fabricate them is commonly used in the production of scientific objects sent into space; as well as being light weight and strong it typically bears its honeycomb innards revealing its workings. The matt black surface of the screen resonates with how scientists and engineers use the mattest of blacks in the production of space optics to absorb unwanted light.
The four channel sound runs along the width of the screen, shifting as events appear and disappear. Using the luminescence of the image to create and control sound, the visual events carve a sonic space out of a field of noise, producing a singing universe of harmonic tones, reminiscent of radio telescope data translated into audible frequencies.
Semiconductor are interested in how technology, made to study nature, mediates our experiences and understanding of it. Here, by employing the products of science they have created an interpretation of deep space framed by the technology that is made to capture it, leading us to question what we are experiencing.
Catching the Light is commissioned by ArtScience Museum at Marina Bay Sands in Singapore for Da Vinci: Shaping the Future exhibition, 2014-2015.
Data obtained from the Mikulski Archive for Space Telescopes (MAST)
Programmer Julian Weaver
Currently fundraising for production of single channel version. If you're interested in supporting this please get in in touch.
Catching the Light (detail), ArtScience Museum, Singapore, 2014
Posted in ArtTagged animation, archive, black and white, custom tools, data, documentary, everything, installation, man and technology, multi-channel, photographs, science, timelapse
Play of Light
Posted on July 17, 2014 March 4, 2022 by semiconductor
Play of Light, 2014, video documentation
site specific two-channel moving image work
Play of Light is a site specific, two channel moving image installation commissioned for the newly renovated brutalist Chichester Festival Theatre. Incidental in nature, this art work explores Moya and Powell's architectural vision through animated sequences of projected light and shadows.
The shadow sequences move slowly but perceptibly as if cast by time-lapse animations of the sun or passing vehicles. As the light source moves, layers of the architecture interact and shift across each other, producing animated shadows. Caused by the phenomena of motion parallax they abstract the architecture, to create new forms and shifting patterns. The slow motion of the shadows allow for contemplation of these choreographies, as they morph and merge to reveal the natural rhythms of the architecture.
Working with a digital architectural model of Chichester Festival Theatre, Semiconductor created an artificial sun, which they animated to cast time-lapse shadows through the building. By physically deconstructing the model into many scenes, they have created multiple time-lapse sequences, which offer new and familiar viewpoints through the building, encouraging a reconsideration of the architectures formal aspects.
Motion introduces a new dimension to the architectural stage, literally bringing the building to life. By transforming the enclosed static condition of architecture to one which is open and dynamic, Semiconductor have made a kinetic sculpture on an architectural scale, which alters our experience of the building.
Optical nuances of light have been mimicked to create an authentic play of shadow and light; subtle phenomena such as blurring, bleeding and visual noise have been employed to play to the eyes sensitivities. Colours within the fabric of the building have been mirrored in the work and expanded on as a play on theatrical stage lighting: the building has become performer.
The digitally animated shadows are projected onto two interior rough concrete walls, which mirror each other. Each wall has its own distinct projection which explores each scene from a differing angle. The shadows appear as if they are being cast in situ: echoing elements of the surrounding environment, they fall incidentally on the walls.
Play of Light was commissioned by Chichester Festival Theatre, UK.
Play of Light, 2014, Chichester Festival Theatre, UK
Play of Light (detail), 2014
Posted in ArtTagged animation, CGI, city, documentary, everything, installation, multi-channel, timelapse
The Shaping Grows
Posted on January 27, 2012 March 7, 2022 by semiconductor
The Shaping Grows by Semiconductor for Swarovski, image David Levene. Installation view at the Design Museum, London, 2012
03.00 minute loop
4 channel HD + 4 channel audio
The Shaping Grows is a computer generated animation of a subterranean cavern, brought to life through seismic data. Fantastical mineral crystals chaotically emerge and evolve according to the natural resonance of our shifting planet. These manifestations reveal atomic structures in their rawest form providing a window into the make-up of the physical world, where simple shapes come together to create intricate and complex formations. Here, Semiconductor draw a parallel between these basic molecular structures and the building blocks of the digital world, a world which has become the prism through which we increasingly experience reality.
The animation spans multiple time frames condensing geological events and processes through time-lapse techniques, allowing us to bear witness to mineral crystal growth patterns and the traces they leave behind. Mineral crystals can become consumed by larger formations or play host to wildly different structures, as physical conditions change over time and favour certain elemental and chemical reactions. Matter can also become trapped inside formations as they grow, creating 'inclusions'. The resulting objects store the memory of their making and can be read to learn the story of their evolution and the conditions in which they grew.
Semiconductor have collected seismic data of recent earthquake activity from around the world and converted it into sound. This directly animates and controls the formations and provides a sound-scape of the Earth in a state of flux.
Commissioned by Swarovski for the exhibition Digital Crystal at the Design Museum, London.
Posted in ArtTagged animation, CGI, chronological, custom tools, data, data visualisation, everything, field recordings, generative, geological time, inaudible, installation, Mineral Sciences Laboratory, mineralogy, multi-channel, science, science fiction, sculptural, sound controlled, timelapse
Worlds in the Making
Worlds in the Making, FACT (Foundation for Art and Creative Technology), Liverpool, UK, 2011. Photo: Brian Slater
23.00 minutes
3 channel HD
Worlds in the Making is an epic three channel moving image work that explores how we observe, experience and create an understanding of the physical origins of the world around us. By appropriating the tools and processes of volcanology to re-interpret the primordial landscapes of our volcanic planet, Semiconductor create a world slightly removed from the one we think we know, disrupting our every day assumptions of reality and questioning how science affects our experience of the natural world.
In the work the use of audio investigates our relationship with the physical, scientific and ephemeral nature of sound. Seismic data collected from beneath volcanoes and translated into audio evokes images of rocks crunching and grinding below the Earth and is used as a sculptural tool to generate elaborate CG animations of matter forming as mineral crystals. A scientist's dialogue appears to guide us through extraordinary landscapes while Oren Ambarchi's composition overwhelms as it brings an emotional connection to place.
The viewer is transported through dystopian landscapes, strangely exquisite animations, fantastical vistas, and natural phenomena to a world between science fiction and science fact.
Commissioned by Jacqui Davies and FACT, Foundation for Art and Creative Technology.Supported by Arts Council England. Gulbenkian Galapagos Artists Fellowship. Smithsonian Artists Research Fellowship.
Music by Oren Ambarchi – Published by Touch Music (MCPS)
Richard S. Fiske – Smithsonian National Museum of Natural History, Mineral Sciences Department: for his oratory skills, field notes and methodical tephra sorting.
Ellen Thurneau – Smithsonian National Museum of Natural History, Mineral Sciences Department.
William G. Melson – Smithsonian National Museum of Natural History, Mineral Sciences Department: for his audio recordings of Arenal Volcano, Costa Rica erupting.
Jonathan M. Lees, Professor of Geological Sciences, University of North Carolina at Chapel Hill, USA. For his seismic data collected at Tungurahua volcano, Ecuador which features in the work..
Gregory P. Waite, Assistant Professor of Geophysics, Michigan Technological University, USA. For his seismic data from Fuego Volcano, Guatemala and Mount St. Helens, Washington, USA.
Jorge Ordonez at Instituto Geofisico, Quito Ecuador
Adam and Miriam at Instituto Geofisico, Quito Ecuador
Global Volcanism Program, Smithsonian National Museum of Natural History
Dennis Geist, Professor of Geology at the University of Idaho, USA
Gorki Ruiz at Instituto Geofisico, Quito Ecuador
Instituto Geofisico Volcano Observatory, Tungurahua, Ecuador
Scientific paper: Liquid Sulfur at Volcan Azufre, Galapagos Islands by W.E. Colony and Bert E. Nordle, 1973. Charles Darwin Research Station Library, Santa Cruz, Galapagos, Ecuador.
Produced by Jacqui Davies.
preview of Worlds in the Making installation – to watch HD full screen double-click the image
Worlds in the Making, Crystallize, Old Billingsgate, London, 2013
Worlds in the Making, FACT (Foundation for Art and Creative Technology), solo show, 2011. Photo: Brian Slater
Worlds in the Making (still), 2011
Worlds in the Making, Semiconductor: The Technological Sublime, City Gallery Wellington, solo show, 2019. Photo: Shaun Waugh
Worlds in the Making, Semiconductor: The Technological Sublime, City Gallery, Wellington, solo show, 2019. Photo: Shaun Waugh
Seismographs, Fruitmarket, Edinburgh, 2013. Photo: Fruitmarket
Posted in ArtTagged animation, CGI, chronological, custom tools, data, data visualisation, documentary, everything, field recordings, Galápagos, generative, geological time, inaudible, installation, invisible, man and technology, Mineral Sciences Laboratory, mineralogy, multi-channel, philosophy of science, photographs, science, science fiction, sculptural, sound controlled, volcanology, waveforms
Inferno Observatory
Posted on May 24, 2011 March 9, 2022 by semiconductor
Inferno Observatory (preview), 2011
multi-channel SD
Inferno Observatory is a multi-channel moving image work that explores humankind's complex relationship with natural phenomena. During a fellowship at the Mineral Sciences Laboratory in the Smithsonian National Museum of Natural History, Washington DC, Semiconductor unearthed a 16mm volcano film archive shot by volcanologists in the field, it reveals spectacular occurrences and curious, obsessive and sometimes absurd processes of observing and studying volcanoes.
In the work, these films have been re-contextualised to emphasise and examine three distinct relationships; the erupting volcano as all-powerful and humbling, the spectacle as people gather to watch in collective amazement, photograph and be photographed and the taming of the volcano through scientific probing, measurement and human endeavour.
Archive footage courtesy of Mineral Sciences Department, Smithsonian National Museum of Natural History, Washington DC. Commissioned by Jacqui Davies and FACT, Foundation for Art and Creative Technology. Supported by Arts Council England. Smithsonian Artists Research Fellowship.
Global Volcanism Program, Smithsonian National Museum of Natural History, Scientists films, film archive.
Music by Peeesseye.
Andreas Bick, sound recording of Mt. Yassur Volcano, Tanna Island, Vanuatu.
Professor Willy Aspinall, Earth Sciences, Bristol University, UK. For his audio recording 'St Vincent 1979'.
Jonathan M. Lees, Professor of Geological Sciences, University of North Carolina at Chapel Hill, USA. For his seismic data collected at Tungurahua volcano.
Inferno Observatory video documentation, FACT, Liverpool, UK, solo show, 2011
Inferno Observatory, Worlds in the Making, FACT, Liverpool, UK, solo show, 2011
Inferno Observatory (still), 2011
Posted in ArtTagged archive, chronological, documentary, everything, installation, Mineral Sciences Laboratory, multi-channel, science, single channel, volcanology
Crystallised (still), 2011
Crystallised is a series of digital mineral crystal animations generated and animated by sound recordings of ice crystals. Each structure takes on a different form, growing and evolving in exquisite detail. Mineral crystals reveal atomic structures in their rawest form and provide a window into the make-up of the physical world, where simple shapes come together to create intricate and complex formations. With this series of works, Semiconductor draw a parallel between these basic molecular structures and the building blocks of the digital world, which has become the prism through which we increasingly experience reality. The animations suggest pre-ordained patterns and order that appear to underlie everything and lead us to question our experiences of the very fabric of our world.
Crystallised, Worlds in the Making, FACT, Liverpool, UK, solo show, 2011
Posted in ArtTagged animation, CGI, chronological, everything, field recordings, generative, mineralogy, multi-channel, science, science fiction, single channel, sound controlled, timelapse
Heliocentric (excerpt), 2010
HD single + multi-channel versions
Heliocentric uses time-lapse photography and astronomical tracking to plot the sun's trajectory across a series of landscapes. The entire environment feels to pan past the camera whilst the sun stays in the centre of each frame, enabling us to gauge the earth's rotation and orbit around the sun. As the Suns light becomes disrupted by passing weather conditions and the environment through which we encounter it, it audibly plays them as if it were a stylus.
It is usually all but impossible to visualize how the earth moves around the sun, even though we know it to be true. Instead we 'see' the sun move around us. The 'heliocentric' view of the universe was debated from the third century BC onwards and remained contentious into modern times.
Shooting into the sun creates many intriguing artifacts; lens flares and glare spill over the landscape, white outs burn the image, and colours bleed into one, creating aureoles. The power of the sun still exceeds what both the human eye and the artificial eye of the camera can bear. And whilst our knowledge of the universe is ever-growing, we can only encounter and know it from our own humble vantage point.
Heliocentric is co-commissioned by AV Festival + Northern Lights Film Festival, UK.
Heliocentric (still), 2010
Heliocentric, Let There be Light, HEK (House of Electronic Arts), Basel, Switzerland, solo show, 2013. Photo HEK
Heliocentric, EMAP, South Korea, 2011
Heliocentric and Black Rain, White Night, Paris, 2011. Photo: Marc Domage.
Heliocentric, NGCA (Northern Gallery for Contemporary Art), solo show, 2010. Photo NGCA
Heliocentric, Out There, Maastricht, 2014.
Posted in ArtTagged animation, chronological, custom tools, documentary, everything, field recordings, installation, multi-channel, philosophy of science, photographs, science, single channel, solar, sound controlled, sun, timelapse
Out of the Light
Out of the Light (video excerpt), 2008
HD single channel floor projection + expanded version
Over time, celestial patterns can reveal themselves through the play of light and shadow on the world around us. Out of the Light is a CGI time based sculpture, which recreates these shadow phenomena to explore how we can make sense of the world through observation; we experience a solar eclipse as observed through the branches of a tree, the rhythm of a city as its shadows phase from days to months to years and the transit of Venus observed through the construction of simple human made tools. Viewing these events with the unaided eye allows for anomalies in the quality and nature of light which are played upon here, to explore our perceptual sensitivities.
Commissioned by Arcadi, Paris
Solar audio courtesy of Alexander G.Kosovichev at Stanford University.
Installation photograph; Wild Sky at Edith Russ House For Media Art, Germany. Courtesy Franz Wamhof
Out of the Light, Let There be Light, HEK, Basel, solo show, 2013. Expanded installation of Out of the Light.
Out of the Light (still), 2008
Out of the Light, Wild Sky, Edith Russ Site for Media Art, Oldenburg, Germany, 2011. Photo: Franz Wamhof.
Posted in ArtTagged animation, black and white, CGI, chronological, everything, field recordings, installation, multi-channel, science, science fiction, single channel, solar, sound controlled, sun, timelapse, transit of Venus
Earthmoves
Posted on October 15, 2006 March 2, 2022 by semiconductor
Earthmoves (still), 2006
HD single channel + 3 channel
Earth Moves is an exploration into how unseen forces affect the fabric of our world. By collecting field recordings and using them to directly animate photographs of the landscapes from which they came, the limits of human perception are exposed, revealing a world which is unstable and in a constant state of animation. As the forces of acoustic waves come into play on our surroundings, we bear witness to vast undulating terrains, which challenge our everyday experiences of the world around us.
The South-East of England is explored through a series of five audio controlled photographic panoramas.
Earth Moves is an Arts Council England commission and is permanently installed at the South East offices, Brighton.
Earth Moves was developed from an idea initiated during participation in Greg Daville's City Running, Brighton March 2006.
Three screen version of Earthmoves commissioned by Lovebytes.
Earthmoves, Millennium Galleries, Sheffield, 2007. Photo: Sheffield Galleries and Museums Trust.
Earthmoves, Nuit Blanche, Paris, 2008
Posted in ArtTagged animation, chronological, city, custom tools, everything, field recordings, installation, invisible, multi-channel, photographs, sculptural, single channel, sound controlled, theory of everything, waveforms
Brilliant Noise
Posted on April 14, 2006 March 4, 2022 by semiconductor
Brilliant Noise (excerpt), 2006
SD / HD / single channel + multi-channel versions
Brilliant Noise takes us into the data vaults of solar astronomy. After sifting through hundreds of thousands of computer files, made accessible via open access archives, Semiconductor have brought together some of the sun's finest unseen moments. These images have been kept in their most raw form, revealing the energetic particles and solar wind as a rain of white noise. This grainy black and white quality is routinely cleaned up by NASA, hiding the processes and mechanics in action behind the capturing procedure. Most of the imagery has been collected as single snapshots by ground based observatories and satellites, they are then reorganised into their spectral groups to create time-lapse sequences. The soundtrack highlights the hidden forces at play upon the solar surface, by directly translating areas of intensity within the image brightness into layers of audio manipulation and radio frequencies.
Thanks to the following solar observatories whose data archives were used in the making of this film: Mount Wilson Observatory UCLA, Lasco/SOHO Naval Research Laboratory, TRACE/LMSAL, Big Bear Solar Observatory/NJIT, SST/Royal Swedish Academy of Sciences, Gong/National Solar Observatory/AURA/NSF Thanks also to: Steven Christie, Iain Hannah, the CSE team and all at the space sciences Lab. UC Berkeley.
Brilliant Noise was made during an Arts Council England International Artists Fellowship at the NASA Space Sciences Laboratory, UC Berkeley, California, USA.
Awarded second prize by the Science Film Festival, a Coruna Spain. 2008.
Awarded second prize at Onion City Experimental Film and Video Festival 2006.
Awarded Best Video at Experimental Film and Video Festival, Seoul, Korea 2006.
Brilliant Noise, Semiconductor: The Technological Sublime, City Gallery Wellington, solo show, 2019. Photo: Shaun Waugh
Brilliant Noise, RML, San Francisco, 2006
Brilliant Noise, Nuit Blanche, Paris, 2011
Brilliant Noise, SESC, Sao Paulo, Brazil, 2010
Brilliant Noise (still), 2006
Posted in ArtTagged animation, archive, black and white, chronological, data, everything, installation, man and technology, multi-channel, NASA Space Sciences Laboratory, performance, philosophy of science, photographs, science, single channel, solar, sun, timelapse


This is a page listing furniture stores in Fort Payne, Alabama. Browse the listings below to find the best furniture stores near you or enter your zip code at the top of the page to find more Alabama Furniture Stores in your area. Visit one of these fine Fort Payne furniture stores to find the best sofa, bed or whatever you need right in Fort Payne.


If you haven't been around very long, here's the room I started with a year ago. The walls and the carpet were beige, and I had a door, an unremarkable window, and a closet.
The closet had doors and a single wire shelf inside. It was nearly useless and it took too much space, which I didn't have much of to begin with. I took the doors out over my winter break, I think. That helped a bit, but the closet wasn't much to look at.
I tried my best, but the bones of the room were hard to work with and replacing a doorknob wasn't going to change that. So this summer, I upended my whole room, resulting in my having to sleep in my sisters room for a while. The two major things I wanted to change were the walls and the closet. I started with the closet and took out the wire shelf. It hadn't been installed properly and took out half the wall with it. So I patched up the wall. Fast-forward a bit and after painting it all white, I installed IKEA's Algot system with some help from my dad, which took some planning but it worked out beautifully.
I painted the walls white and grey. The top 60% is Ultra White from Benjamin Moore and the bottom 40% is Grey Cloud also by Benjamin Moore. I did the white first, taking the paint below where I planned to start the grey. After two coats and waiting for it to dry, I taped a stripe of tape at 3 feet. I had planned to put it at 4 feet, but I'm glad I did three so it feels more like I'm wading through the grey rather than drowning in it. The colours compliment each other far better than I had hoped.
So I've done it. My walls and my closet. I also made the decision to put my bed in the corner. My design hero, Rebecca Robeson, is always talking about symmetry in her YouTube videos, but my room is small and she and I have different tastes anyway, so I opted for an arrangement a little more utilitarian. I also added a huge floor-length mirror because a) it was looking a little awkward in our living room and b) it actually fit into my room plan perfectly. I love how my bed frame put together with the mirror and the new closet create a beautiful wardrobe corner for me to plan outfits and take selfies!
My room looks like a dream. After a month of hard work, I can finally sleep in it again.
I'm still working on the details, but my room is really coming together and I couldn't be happier with it. Starting out, I wasn't entirely sure how I wanted it to look. I'm twenty and still live with my parents, and all I knew was that I wanted my room to feel like my own little apartment instead of just a bedroom. The paint made a huge difference, and so did my bed frame, surprisingly. Once I put my desk in, I'll have a sleeping space, wardrobe space, and working space. I can't wait to share more with you guys in the future.
Well, what do you think? Comment below!


Ball Park Deli Style Beef Frank 5:1, 6 inch -- 2 per case.
Ball Park Deli Style Franks, 5:1, 6"
Preparation instructions: Note: Due to variances in cooking equipment heating times are approximate and may require adjustment. Boil Cover Franks with water. Bring to a boil. Boil 4-6 minutes or until Franks reach an internal temperature of 165F. Heat Franks to an internal temperature of 165F; hold at 165F for 1 minute before serving; hold at 135F or higher for a maximum of 4 hours.


text:
Yeovil Archaeological and Local History Society (YALHS)
From a random selection of newspaper articles stretching from 1848 to 1944 fires in gloving factories seem to have been a recurrent hazard. The following taken from the Western Gazette is an abridged account of one disastrous one which occurred on 27th March 1908.
GREAT FIRE AT YEOVIL
£4,000 DAMAGE AT A GLOVE FACTORY
DRESSING YARD BURNT OUT
A fire broke out in the dressing yard behind the glove factory of Mr G. H. Gould, in Vicarage Street, Yeovil about 4 o'clock on Sunday morning, and, racing unchecked for some considerable time before being discovered, was not extinguished until the larger part of the buildings and machinery had been practically destroyed. In this yard was a five-floored building used by Mr Gould for the preparation of skins for the manufacture of gloves and divided into engine and boiler rooms, various machinery departments, and a wool store, which contained practically a year's accumulation of wool from the skins used. The buildings overlook Earle Street, and the reflection of the fire on his bedroom windows aroused Mr H. Mitchell, who lives opposite, and he promptly gave the alarm. A Mr F. G. Collins, the manager of the yard, was fetched and Mr Mitchell's boy went to the Police station with the alarm…. Standing in the yard, too, is a huge pole carrying a large number of telephone wires used in the town services, and although it appeared in great danger at times it escaped injury…. A very considerable time elapsed between calling the Borough Fire Brigade and their actual arrival – it is said over an hour –but when they got to work, under Second Officer Brown, they worked in a manner deserving the highest praise. ….. When at last the flames were brought under control, the five storey building was a total wreck, and a few only of its piers were standing.
The damage is estimated by Mr Gould at about £4,000, but practically the whole of that done to stock and buildings, amounting to £3,500, is covered by insurance. The machinery, valued at about £500, was not insured. All the wool in the store was destroyed, the engine and boiler damaged, "tumbler" and crushing and emery wheeling machines wrecked or badly damaged, and a large quantity of dressed leather ready to put into gloves totally destroyed. By the ruin of the dressing yard about 20 men were thrown out of work, and by the end of the week practically the whole of the hands at the factory will be more or less affected. Several of the other manufacturers in the town have, however, kindly offered to help Mr Gould out of his difficulty.
It is only fair to say that the delay of the Fire Brigade in arriving on the scene was in no way their fault, but the fault of the antiquated methods of calling them. The Town Council at their last meeting adopted a scheme for electric communication which has been put in hand, but which is not yet in operation. ….
The cause of the fire is unknown, but it is conjectured that some material had been smouldering in the engine room for some time before the outbreak of the fire.
Soon after midnight on Tuesday the Fire Brigade received another call to Mr Gould's premises. On arriving they found a large amount of the debris, which had evidently been smouldering since Sunday morning, was well alight, and being close to the cottages in Vincent Street was looked upon as being extremely dangerous. The Fire Brigade finally left scene between nine and ten on Wednesday morning. An unfortunate accident befell a local policeman, who was also called to the factory in the small hours on Wednesday morning. Whilst looking round the dressing yard for signs of fire he failed to notice the puring pits full of unsavoury liquid used in the process of skin dressing, and stepped into one. Seeing that the pits were four or five feet deep, his condition on emerging can be better imagined than described.
Jean Harper
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Jay-Z Re-Opens Palladium
LOS ANGELES (CelebrityAccess MediaWire) — On October 15th, Jay-Z re-opened the Hollywood Palladium after a year-long, $18-million renovation of the 68-year-old historic venue.
"The last person to open the Palladium was Frank Sinatra," Jay-Z said during his set, "and I consider myself….Ol' Brown Eyes, baby!"
According to Billboard, Jay-Z performed for more than an hour and a half, accompanied by an 8-piece band and DJ AM, who played his first gig since being involved in a plane crash last month.
Upgrades to the 4,000-capacity venue include a new dance floor, a rehab of both the exterior and interior of the venue, a new sound system, expanded concessions and more restrooms. Live Nation holds a long-term lease on the venue and are the exclusive booker for the Palladium.
"An artist of Jay-Z's caliber is the perfect way to open a new chapter for such a classic and legendary venue," Live Nation' Rick Mueller told Billboard "Fans got a taste of the unique atmosphere and great vibe that is the Hollywood Palladium, and it is something we think bands will want to be a part of." – CelebrityAccess Staff Writers


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Classic Book Discussion
2022-12-20 18:30:00 2022-12-20 19:30:00 America/New_York Classic Book Discussion Join us for a discussion of time-honored tales for teens and adults. December's title is a favorite book of your choice, something that may or not be considered "classic" but is special to you. Green Branch Library - Community Room
Add to Calendar 2022-12-20 18:30:00 2022-12-20 19:30:00 America/New_York Classic Book Discussion Join us for a discussion of time-honored tales for teens and adults. December's title is a favorite book of your choice, something that may or not be considered "classic" but is special to you. Green Branch Library - Community Room
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Join us for a discussion of time-honored tales for teens and adults. December's title is a favorite book of your choice, something that may or not be considered "classic" but is special to you.
"Bestseller: a Century of America's Favorite Books" by Robert McParland
AGE GROUP: | Teen | Adults |
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TAGS: | Teen | Book Group, Book Discussion, Adult, Readers | Adult |
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Reshuffle days are always a bit tense and there were so many rumours flying about on Monday night and Tuesday early morning about where I was going that someone said to me that I had (according to the rumour mills) been linked with almost every department.
Fortunately, I was summoned relatively early in the morning on Tuesday to the Deputy Prime Minister's office. He told me that changes had to be made and that meant, clearly, that some colleagues would have to step aside. So I steeled myself for bad news. 'But you are not one of them'. What you might call a Simon Cowell moment!
So – an a busy and exciting week as I start my new ministerial job as Parliamentary Under Secretary of State for International Development!
I've absolutely loved doing equalities work for so many years – and now it's great to be returning to International Development, which I used to shadow in opposition and which is a department I worked closely with on much of my overseas equalities work, promoting human rights and equal treatment not just in the UK but also in other countries.
So I want to say a huge thank you to everyone I have worked with in this field – and best wishes to my successor with this incredibly important and precious portfolio.
I am pleased to hear that you have such a useful and potentially productive role. I have every respect for your dedication and abilities to succeed in that area. However, I hope you realise that just by being part of the coalition you are serving the most right wing government since 1945. In the long term, anything you do will be judged in relation to that function. Britain is one of the most unequal countries in Europe – there is considerable misery most dramatically figured in the work of Atos. The Lib Dems will go down in history as the dupes and guarantors of a nasty regime of privileged and corrupt Tories. Its abundantly clear now that your influence is waning and you are simply the outriggers of their policies.


March 26 (Reuters) - Hong Kong shares steadied on Tuesday after the previous session's heavy losses, but investor sentiment remained fragile as concerns over a possible U.S. recession lingered, and China and the United States readied for the next round of trade talks.
** At the close of trade, the Hang Seng index was up 0.15 percent at 28,566.91 points. The Hang Seng China Enterprises index was steady at 11,231.73. ** The sub-index of the Hang Seng tracking energy shares rose 0.8 percent, while the IT sector dipped 0.4 percent, the financial sector ended 0.09 percent higher and the property sector rose 0.42 percent. ** As global growth slows, Eric Rosengren, president of the Federal Reserve Bank of Boston, said Tuesday that the U.S. Federal Reserve should consider raising the proportion of short-term Treasury bonds it holds to give itself more options to respond to economic pullbacks. ** Investors have been spooked by sharp falls in U.S. bond yields and an inversion of the U.S. Treasury yield curve, which is widely seen as an indicator of an economic recession. On Tuesday afternoon, the 10-year U.S. Treasury yield edged up to 2.4318 percent, having fallen as low as 2.3770 percent on Monday. ** Investors are also looking ahead to the next round of trade talks as a U.S. trade delegation visits China March 28-29. Trade tensions between the United States and China have caused huge amounts of economic uncertainty and could cut Asia's economic growth by 0.5 percentage point, a senior International Monetary Fund official said on Tuesday. ** The top gainer on the Hang Seng was Shenzhou International Group Holdings Ltd, which gained 3.37 percent, while the biggest loser was AAC Technologies Holdings Inc, which fell 2.98 percent. ** China's main Shanghai Composite index closed down 1.51 percent at 2,997.10 points, while the blue-chip CSI300 index ended down 1.13 percent. ** A-shares have come under pressure amid heavy selling by foreign investors. Analysts at China Fortune Securities said in a note that outflows from northbound investors hit 10.7 billion yuan ($1.59 billion) on Monday, the second-highest level on record. ** Around the region, MSCI's Asia ex-Japan stock index was firmer by 0.24 percent, while Japan's Nikkei index closed up 2.15 percent. ** The yuan was quoted at 6.7116 per U.S. dollar at 08:24 GMT, 0.04 percent weaker than the previous close of 6.709. ** The top gainers among H-shares were Shenzhou International Group Holdings Ltd up 3.37 percent, followed by China Pacific Insurance Group Co Ltd, gaining 2.81 percent, and CNOOC Ltd, up by 2.22 percent. ** The three biggest H-shares percentage decliners were SINOPHARM GROUP CO LTD, which was down 3.64 percent, China Vanke Co Ltd, which fell 3.0 percent, and Haitong Securities Co Ltd, down by 2.0 percent.