Projecting the new world city: The city as spectacle in an urban light festival

As a precursor to the 2014 G20 Leaders’ Summit held in Brisbane, Australia, the Queensland Government sponsored a program of G20 Cultural Celebrations, designed to showcase the Summit’s host city. The cultural program’s signature event was the Colour Me Brisbane festival, a two-week ‘citywide interactive light and projection installations’ festival that was originally slated to run from 24 October to 9 November, but which was extended due to popular demand to conclude with the G20 Summit itself on 16 November. The Colour Me Brisbane festival comprised a series projection displays that promoted visions of the city’s past, present, and future at landmark sites and iconic buildings throughout the city’s central business district and thus transformed key buildings into forms of media architecture. In some instances the media architecture installations were interactive, allowing the public to control aspects of the projections through a computer interface situated in front of the building; however, the majority of the installations were not interactive in this sense. The festival was supported by a website that included information regarding the different visual and interactive displays and links to social media to support public discussion regarding the festival (Queensland Government 2014). Festival-goers were also encouraged to follow a walking-tour map of the projection sites that would take them on a 2.5 kilometre walk from Brisbane’s cultural precinct, through the city centre, concluding at parliament house. In this paper, we investigate the Colour Me Brisbane festival and the broader G20 Cultural Celebrations as a form of strategic placemaking—designed, on the one hand, to promote Brisbane as a safe, open, and accessible city in line with the City Council’s plan to position Brisbane as a ‘New World City’ (Brisbane City Council 2014). On the other hand, it was deployed to counteract growing local concerns and tensions over the disruptive and politicised nature of the G20 Summit by engaging the public with the city prior to the heightened security and mobility restrictions of the Summit weekend. Harnessing perspectives from media architecture (Brynskov et al. 2013), urban imaginaries (Cinar & Bender 2007), and social media analysis, we take a critical approach to analysing the government-sponsored projections, which literally projected the city onto itself, and public responses to them via the official, and heavily promoted, social media hashtags (#colourmebrisbane and #g20cultural). Our critical framework extends the concepts of urban phantasmagoria and urban imaginaries into the emerging field of media architecture to scrutinise its potential for increased political and civic engagement. Walter Benjamin’s concept of phantasmagoria (Cohen 1989; Duarte, Firmino, & Crestani 2014) provides an understanding of urban space as spectacular projection, implicated in commodity and techno-culture. The concept of urban imaginaries (Cinar & Bender 2007; Kelley 2013)—that is, the ways in which citizens’ experiences of urban environments are transformed into symbolic representations through the use of imagination—similarly provides a useful framing device in thinking about the Colour Me Brisbane projections and their relation to the construction of place. Employing these critical frames enables us to examine the ways in which the installations open up the potential for multiple urban imaginaries—in the sense that they encourage civic engagement via a tangible and imaginative experience of urban space—while, at the same time, supporting a particular vision and way of experiencing the city, promoting a commodified, sanctioned form of urban imaginary. This paper aims to dissect the urban imaginaries intrinsic to the Colour Me Brisbane projections and to examine how those imaginaries were strategically deployed as place-making schemes that choreograph reflections about and engagement with the city.

La dinámica del viaje en el contexto del Ms. Esc. K-III-4 : Libro de Apolonio, Vida de Santa María Egipciaca, Libro de los tres reyes de Oriente

Resumen: Los personajes de los tres poemas castellanos del temprano siglo XIII que componen el manuscrito K-III-4 de la Biblioteca de San Lorenzo de El Escorial (Libro de Apolonio, Vida de Santa María Egipciaca, Libro de los tres reyes de Oriente) viajan lamentando aquello que han perdido a causa de la ira regia, el propio pecado o la amenaza de muerte inminente, pero también para superar esas pérdidas. Esos viajes representan la medida de una aventura medieval cuya dinámica expresa la concepción profunda de la trayectoria vital como prueba cristiana, según se analizará en el presente trabajo.

Comportamiento y mejoramiento de la gallina chiricana

I. Introducción El problema avicola nacional II. Presentación III. Descripción de las razas usadas en el experimento, Raza Leghorn, comportamiento en la zona del pacífico de Nicaragua, Raza Minorca o Monarca, Comportamiento en la zona del pacífico, Raza New Hompshire, Comportamiento en la zona del pacífico, Raza Plymouth Rock barrada, Comportamiento en la zona del pacífico, Raza Chiricana criolla. IV. Herencia del color de las plumas Blanco dominante, negro, blanco recesivo, rojo, barrado, abarramiento dorado, cuello, cresta y postura Cuello Cresta Postura VI. Conclusiones VII. Recomendaciones Bibliografía

Bacantes de Eurípides: Felicidad iniciática y furia salvaje en el cortejo femenino de Dioniso

404 p. E-mail de contacto del autor: jbreviatti@yahoo.es

Cartografia de Orfeu:analogia e assurreição nas Soledades de Luis de Góngora y Argote

O tema desta Dissertação de Mestrado é a análise dos conceitos de analogia e assurreição (objetos formais) na obra Soledades (objeto material) de Luis de Góngora, bem como suas implicações filosóficas e formais. Pretendi fazer uma análise do poema, tendo em vista perseguir a seguinte hipótese: a desmesura e a desproporção que as Soledades apresentam não são fruto de um mero capricho estilístico. Elas nascem de uma intervenção do furor poético, entendido como furor divino. Góngora teve acesso a essas concepções mediante o influxo de ideias herméticas e neoplatônicas na Península Ibérica. Tais influxos são responsáveis por uma amplificação especialmente aguda da doutrina da analogia. O desdobramento máximo dessa ênfase no princípio da analogia é propriamente a assurreição, tal como definida por Claude-Gilbert Dubois. A partir desses elementos, esta Dissertação de Mestrado pretendeu proceder a uma análise de alguns motivos, cenas e trechos do poema narrativo Soledades, de Luis de Góngora y Argote, mostrando como ele elabora a doutrina da analogia de proporcionalidade e em que momento essa analogia aguda produz a assurreição, ou seja, o corte transversal na hierarquia dos corpos institucionais, movimento este em geral entendido em termos teológicos e políticos como heresia. Por outro lado, há a importante relação entre hermetismo, neoplatonismo e literatura na Renascença, bem como a maneira pela qual a doutrina do furor poético se infiltrou nas artes e na poesia espanholas por via italiana nos séculos XVI e XVII. Concentrei-me no conceito de assurreição e na análise do deslocamento metafísico-teológico das analogias de proporcionalidade presentes nas Soledades, cotejando-as com a distribuição dos lugares naturais de cada elemento do cosmos, fixada sobretudo por Santo Tomás de Aquino, a maior autoridade da teologia católica na Península Ibérica do século XVII

Cypermethrin use in forestry and its impact on Welsh streams: An evaluation of the impact of cypermethrin use in forestry on Welsh streams

This is the Evaluation of the impact of cypermethrin use in forestry on Welsh streams from the University of Plymouth, published on September 2010 by the Environment Agency South West. The report focuses attention on Cypermethrin, a highly active synthetic pyrethroid insecticide effective against a wide range of pests in agriculture, public health, and animal husbandry. It is also used in forestry to control the pine weevil, Hylobius abietis. Cypermethrin is very toxic to aquatic invertebrates and fish at nanogram per litre concentrations. This project checks the effectiveness of current best practice measures in minimising the risk of pollution associated with the use of cypermethrin in forestry in Wales. Chemical results from the intensive studies show that cypermethrin entered minor watercourses draining treated areas at two of the eight sites. In one of these cases the level was well in excess of the short-term Predicted No Effect Concentration. The absence of a buffer area at the other site resulted in the cypermethrin reaching a main drain. However dilution appeared to be sufficient to prevent any impact on water quality or on the invertebrate community in the main stream. Invertebrate and chemical data from the extensive survey showed little evidence of pollution due to wider use of cypermethrin in Welsh forestry. Finally, a number of recommendations are made for further tightening controls on forestry practice to minimise the risk of cypermethrin entering the aquatic environment.

Defects Detection and Assessment in Concrete Surfaces

Aside from cracks, the impact of other surface defects, such as air pockets and discoloration, can be detrimental to the quality of concrete in terms of strength, appearance and durability. For this reason, local and national codes provide standards for quantifying the quality impact of these concrete surface defects and owners plan for regular visual inspections to monitor surface conditions. However, manual visual inspection of concrete surfaces is a qualitative (and subjective) process with often unreliable results due to its reliance on inspectors’ own criteria and experience. Also, it is labor intensive and time-consuming. This paper presents a novel, automated concrete surface defects detection and assessment approach that addresses these issues by automatically quantifying the extent of surface deterioration. According to this approach, images of the surface shot from a certain angle/distance can be used to automatically detect the number and size of surface air pockets, and the degree of surface discoloration. The proposed method uses histogram equalization and filtering to extract such defects and identify their properties (e.g. size, shape, location). These properties are used to quantify the degree of impact on the concrete surface quality and provide a numerical tool to help inspectors accurately evaluate concrete surfaces. The method has been implemented in C++ and results that validate its performance are presented.

Automated 3D Vision Tracking for Project Control Support

On-site tracking in open construction sites is often difficult because of the large amounts of items that are present and need to be tracked. Additionally, the amounts of occlusions/obstructions present create a highly complex tracking environment. Existing tracking methods are based mainly on Radio Frequency technologies, including Global Positioning Systems (GPS), Radio Frequency Identification (RFID), Bluetooth and Wireless Fidelity (Wi-Fi, Ultra-Wideband, etc). These methods require considerable amounts of pre-processing time since they need to manually deploy tags and keep record of the items they are placed on. In construction sites with numerous entities, tags installation, maintenance and decommissioning become an issue since it increases the cost and time needed to implement these tracking methods. This paper presents a novel method for open site tracking with construction cameras based on machine vision. According to this method, video feed is collected from on site video cameras, and the user selects the entity he wishes to track. The entity is tracked in each video using 2D vision tracking. Epipolar geometry is then used to calculate the depth of the marked area to provide the 3D location of the entity. This method addresses the limitations of radio frequency methods by being unobtrusive and using inexpensive, and easy to deploy equipment. The method has been implemented in a C++ prototype and preliminary results indicate its effectiveness

Luctus est istic tuus,/ crimen novercae. Boskie i ludzkie szaleństwo Heraklesa na podstawie tragedii Eurypidesa i Seneki

One of the main, initial thesis of the article is that in the tragedies `Hρακλής μαινόμενος by Euripides and Hercules Furens by Seneca the main character falls into the madness twice. The first madness is sent by Hera/ Juno and is here defined, because of its origin, as a divine madness. The second one is so called human madness and Heracles/ Hercules is most probably overcome by it, after he has recognised, that he, driven by the involuntary fury, killed his own wife and sons. This state of the psyche of the hero is already independent from the deity and originates in such deeply human feelings like despair, anger, pain, shame. The strongly stirred hero plans to commit a suicide. According to the contemporary psychology this situation can be, because of some reasons analysed in the article, recognised as a symptom of irrationality. In the drama by Seneca Amfithryon, the father of the hero also defines the state of Hercules, who has become aware of the truth about his deeds, outright as furor. There is in the drama by Euripides, however, no reference to this second madness, which is connected with the somewhat different mentality that the drama originated in (the still kept in memory Homeric ethos and the attitudes towards the issues of honour, suicide etc. determined by it). Seneca as a stoic noticed and emphasized – although he generally also accepted the suicide – that Hercules, because of the anger, acts irrationally and, as a result, is in fact mentally unable to decide about his life and death. In the article is also presented in what an interesting way the above mentioned differences in the mentality of Euripides and Seneca manifest themselves in the case of the divine madness (among other things, the difference between Greek Lyssa and Roman Furor).

Notes and memoranda

Probable relation between temperature and the annual catch of anchovies in the Schelde District Halosphaera viridis (first record at Plymouth)

Notes and memoranda

Colour-changes in Cottus bubalis. Palaemonetes varians in Plymouth