【EB】 Perimeters, Boundaries and Borders

死弱弱

<p>erimeters, Boundaries and Borders边界3次方</p><p><a href="http://www.reconnoitre.net/cyclone/cyclone.html"></a></p><p>9月底Lancaster将迎来一个新展－<font color="#1469b9">erimeters, Boundaries and Borders</font>，在英国，数字制造技术非常具有创造性以及代表性。参展的艺术家，建筑师和设计师均使用快速原型设计（rapid-prototyping），衍生设计以及其他计算机辅助设计创作他们的作品，这也是这次展览的特色之一。更重要的是这次展览给致力于艺术，设计以及科研实践三者的专业人士提供了舞台。<a href="http://www.fastuk.org.uk/pbb.htm"><br/><br/><table cellspacing="0" cellpadding="0" width="725" align="center" border="0"><tbody><tr bgcolor="#ffe100"><td width="20" height="80">&nbsp;</td><td class="big" colspan="3" height="80"><img height="58" alt="" src="http://www.fastuk.org.uk/Assets/Images/pbb/header.gif" width="569"/></td><td width="20" height="80">&nbsp;</td></tr><tr valign="bottom" align="left"><td height="25">&nbsp;</td><td class="bodystyle" height="25">&nbsp;</td><td class="bodystyle" height="25">&nbsp;</td><td class="bodystyle" height="25">.<br/></td><td height="25">&nbsp;</td></tr><tr valign="top" align="left"><td>&nbsp;</td><td class="bodystyle" valign="bottom"></td><td class="bodystyle" valign="bottom"></td><td class="bodystyle" valign="bottom"><a href="http://www.fastuk.org.uk/pbb/nio.htm">&nbsp;</a></td><td>&nbsp;</td></tr><tr valign="top" align="left"><td>&nbsp;</td><td class="bodystyle" valign="bottom"><a href="http://www.fastuk.org.uk/pbb/blackmore.htm"></a></td><td class="bodystyle" valign="bottom"></td><td class="bodystyle" valign="bottom"></td><td>&nbsp;</td></tr><tr valign="top" align="left"><td>&nbsp;</td><td class="bodystyle" valign="bottom"></td><td class="bodystyle" valign="bottom">&nbsp;</td><td class="bodystyle" valign="bottom"></td><td>&nbsp;</td></tr><tr valign="top"><td height="25">&nbsp;</td><td height="25"></td><td height="25"></td><td height="25"></td><td height="25">&nbsp;</td></tr><tr><td width="20"></td><td width="200">&nbsp;</td><td width="155">&nbsp;</td><td width="330">&nbsp;</td><td width="20">&nbsp;</td></tr><tr><td width="20">&nbsp;</td><!--Element not supported - Type: 8 Name: #comment--><td valign="top" align="left" colspan="2"><p>Between 1999 and 2003 Fast-uk contributed biennial exhibitions to the international Intersculpt project in the Northwest of England. For 2006 <strong>Fast-uk</strong> and<strong> folly</strong> have partnered to present the exhibition,<strong> \'Perimeters, Boundaries and Borders\' </strong>which moves on from the legacy of Intersculpt, to explore the possibilities afforded to artists, architects, designers, and others for the creation of new types of objects, buildings, and products stemming from the increasing use of and integration between digital technologies for design and fabrication. The converging and blurring of traditional disciplinary boundaries is made possible by these technologies, from rapid prototyping to the use of generative and algorithmic software for design. With \'<strong>erimeters, Boundaries and Borders</strong>\', Fast-uk and folly present the work of practitioners at the cutting edge of these developments.</p><p>John Marshall, Fast-uk</p><p>Venue: CityLab, 4-5 Dalton Square , Lancaster LA1 4PP </p><p>Date: 29 September - 21 October<br/>12 - 5 pm, Mon - Sat<br/></p></td><!--Element not supported - Type: 8 Name: #comment--><!--Element not supported - Type: 8 Name: #comment--><td valign="top" align="center"><p class="bodystyle"><img height="235" alt="" src="http://www.fastuk.org.uk/Assets/Images/pbb/bunkley.jpg" width="310" name="img"/></p><p class="bodystyle">Brit Bunkley "Sheep Jet Head" 2006 </p></td><!--Element not supported - Type: 8 Name: #comment--><td width="20">&nbsp;</td></tr><tr><td>&nbsp;</td><!--Element not supported - Type: 8 Name: #comment--><td colspan="3"><div align="left"><p><br/></p></div></td><!--Element not supported - Type: 8 Name: #comment--><td>&nbsp;</td></tr><tr><td>&nbsp;</td><td colspan="3">&nbsp;</td><td>&nbsp;</td></tr><tr><td>&nbsp;</td><!--Element not supported - Type: 8 Name: #comment--><td colspan="3"><div align="left"></div></td><!--Element not supported - Type: 8 Name: #comment--><td>&nbsp;</td></tr><tr><td><img height="15" alt="" src="http://www.fastuk.org.uk/Assets/Buttons/slice/spacer.gif" width="20"/></td><td colspan="3">&nbsp;</td><td><img height="15" alt="" src="http://www.fastuk.org.uk/Assets/Buttons/slice/spacer.gif" width="20"/></td></tr><tr><td bgcolor="#ffe100">&nbsp;</td><td bgcolor="#ffe100" colspan="3"><table cellspacing="0" cellpadding="0" width="652" border="0"><!--Element not supported - Type: 8 Name: #comment--><tbody><tr><td><img height="1" alt="" src="http://www.fastuk.org.uk/Assets/Images/logos/logos/spacer.gif" width="252" border="0" name="undefined_3"/></td><td><img height="1" alt="" src="http://www.fastuk.org.uk/Assets/Images/logos/logos/spacer.gif" width="145" border="0" name="undefined_3"/></td><td><img height="1" alt="" src="http://www.fastuk.org.uk/Assets/Images/logos/logos/spacer.gif" width="79" border="0" name="undefined_3"/></td><td><img height="1" alt="" src="http://www.fastuk.org.uk/Assets/Images/logos/logos/spacer.gif" width="60" border="0" name="undefined_3"/></td><td><img height="1" alt="" src="http://www.fastuk.org.uk/Assets/Images/logos/logos/spacer.gif" width="116" border="0" name="undefined_3"/></td><td><img height="1" alt="" src="http://www.fastuk.org.uk/Assets/Images/logos/logos/spacer.gif" width="1" border="0" name="undefined_3"/></td></tr><tr><td><img height="79" alt="" src="http://www.fastuk.org.uk/Assets/Images/logos/logos/logostrip_r1_c1.gif" width="252" border="0" name="logostrip_r1_c1"/></td><td><a href="http://www.folly.co.uk/" target="_blank"><img height="79" alt="Link to Folly\'s Site" src="http://www.fastuk.org.uk/Assets/Images/logos/logos/logostrip_r1_c2.gif" width="145" border="0" name="logostrip_r1_c2"/></a></td><td><a href="http://www.artscouncil.org.uk/" target="_blank"><img height="79" alt="Link to ACE\'s Site" src="http://www.fastuk.org.uk/Assets/Images/logos/logos/logostrip_r1_c3.gif" width="79" border="0" name="logostrip_r1_c3"/></a></td><td><a href="http://www.miriad.mmu.ac.uk/" target="_blank"><img height="79" alt="Link to MiRIAD\'s Site" src="http://www.fastuk.org.uk/Assets/Images/logos/logos/logostrip_r1_c4.gif" width="60" border="0" name="logostrip_r1_c4"/></a></td><td><a href="http://www.lancaster.gov.uk/" target="_blank"><img height="79" alt="Link to LCC\'s Site" src="http://www.fastuk.org.uk/Assets/Images/logos/logos/logostrip_r1_c5.gif" width="116" border="0" name="logostrip_r1_c5"/></a></td><td><img height="79" alt="" src="http://www.fastuk.org.uk/Assets/Images/logos/logos/spacer.gif" width="1" border="0" name="undefined_3"/></td></tr></tbody></table></td><td bgcolor="#ffe100">&nbsp;</td></tr><tr><td>&nbsp;</td><td colspan="3">&nbsp;</td><td>&nbsp;</td></tr></tbody></table></a></p>

[此贴子已经被作者于2006-11-6 21:08:05编辑过]

死弱弱

<p>参展艺术家：</p><p><table cellspacing="0" cellpadding="0" width="725" align="center" border="0"><tbody><tr><td width="20"></td><!--Element not supported - Type: 8 Name: #comment--><td valign="top" align="left" colspan="2"><p align="left"><span class="bodystyle"><strong class="big">Gavin Baily &amp; Tom Corby</strong><br/>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<strong class="big">- Cyclone.soc </strong><br/><br/></span>Cyclone.soc is a projected installation that brings together two contemporary phenomena: severe weather and the polarised nature of debate that occurs in some online newsgroup forums. The project maps live conversation from political and religious newsgroups onto the isobars of hurricanes and the complex structure of the weather is used to visualise the churn and eddies of newsgroup debate.<br/><br/>Gavin Bailey\'s work has focused on developing conjunctions of software-based visualisation and the data traces of social processes. Tom Corby\'s research is concerned with challenging received assumptions about the role of software/computer code as a platform for \'productivity\' and \'functionality\'.<br/><br/>Recent exhibitions include Simplicity: <br/>Ars Electronica 2006, Linz , Austria<br/>Art meets media: Adventures in Perception at NTT Inter-Communication<br/>Center (ICC), Tokyo and File media art festival, Sao Paulo , Brazil . </p><p><a href="http://www.reconnoitre.net/" target="_blank">www.reconnoitre.net</a></p></td><!--Element not supported - Type: 8 Name: #comment--><!--Element not supported - Type: 8 Name: #comment--><td valign="top" align="center"><span class="bodystyle"><img height="235" alt="" src="http://www.fastuk.org.uk/Assets/Images/pbb/baily.jpg" width="310" name="img"/></span></td></tr></tbody></table></p><p></p><p><table cellspacing="0" cellpadding="0" width="725" align="center" border="0"><tbody><tr><td valign="top" align="left" colspan="2"><p class="big"><strong>Simon Blackmore - LSD Drive<br/></strong><span class="bodystyle">Blackmore\'s custom-built LSD Drive is able to read lost data on apparently useless CDs, and process it using a program written in the Open Source software, SuperCollider. Light Sensitive Disk Drive is a fully functioning prototype hardware/software product that explores ideas of technological progress, technological waste and its environmental impact. CDs in various states of degradation can be played on the drive to produce different sounds from the lost areas of data.<br/><br/>Blackmore is based in Manchester. Since 2001, he has been reinventing the function or image of culturally iconic objects and products to make sculptures that are presented in a range of social contexts. Projects include converting a caravan into a gallery, making audio laptops from logs, making a machine to play a guitar according to the weather and turning a pole lathe into a musical instrument.<br/><br/></span><a class="bodystyle" href="http://www.simonblackmore.net/" target="_blank">www.simonblackmore.net</a></p></td><!--Element not supported - Type: 8 Name: #comment--><!--Element not supported - Type: 8 Name: #comment--><td valign="top" align="center"><span class="bodystyle"><img height="235" alt="" src="http://www.fastuk.org.uk/Assets/Images/pbb/blackmore.jpg" width="310" name="img"/></span></td></tr></tbody></table></p><p></p><p><table cellspacing="0" cellpadding="0" width="725" align="center" border="0"><tbody><tr><td valign="top" align="left" colspan="2"><p class="big"><strong>Brit Bunkley - Sheep Jet Head<br/></strong><span class="bodystyle">Sheep Jet Head is a computer generated map of a passing jet plane flying across a sheep\'s head and body as it stands in a rural landscape. By capturing invented scenes in a believable but slightly skewed setting, Bunkley illustrates his view of globalised modern life.<br/><br/>Bunkley is Head of Sculpture and a lecturer in digital media at the Quay School of the Arts, UCOL in Wanganui , New Zealand . He began using computers as a design tool for public sculpture in 1992. His work uses various 3D rapid prototype printing technologies, traditional castings and CNC milling. Brit Bunkley exhibited at SIGGRAPH - Intersections, Boston in 2006 and is represented by the Mary Newton Gallery, Wellington. </span></p><p class="bodystyle"><a href="http://www.britbunkley.com/" target="_blank">www.britbunkley.com</a><br/></p></td><!--Element not supported - Type: 8 Name: #comment--><!--Element not supported - Type: 8 Name: #comment--><td valign="top" align="center"><span class="bodystyle"><img height="235" alt="" src="http://www.fastuk.org.uk/Assets/Images/pbb/bunkley.jpg" width="310" name="img"/></span></td><!--Element not supported - Type: 8 Name: #comment--><td width="20">&nbsp;</td></tr></tbody></table></p><p><table cellspacing="0" cellpadding="0" width="725" align="center" border="0"><tbody><tr><td valign="top" align="left" colspan="2"><p class="big"><strong>Future Factories - Holy Ghost</strong><br/><span class="bodystyle">Lionel T. Dean continues the Future Factories theme of organic growth with a design that\'s in a constant state of evolution. In Holy Ghost, the back and arms of an iconic chair design have been morphed to create a very different view of an everyday object and a new object of desire. The chair is presented as an animation sequence, which Dean has frozen and used to create two \'hard copies\' of the design using Rapid Prototyping technology.<br/><br/>In 2002 Dean was appointed Designer in Residence at Huddersfield University and began working on Future Factories, a digital manufacturing concept for the mass individualisation of products. Future Factories has had exhibitions in London and Milan. Previously Dean worked as an automotive designer for Pininfarina in Italy, before launching his own consultancy business. </span></p><p class="big"><span class="bodystyle">（这是一把巴洛克装饰风格的椅子，设计源于衍生模型。有2件利用快速原型制作的高仿真品专门用于这次展览。）<br/></span></p><p><a href="http://www.futurefactories.com/" target="_blank">www.futurefactories.com</a></p></td><!--Element not supported - Type: 8 Name: #comment--><!--Element not supported - Type: 8 Name: #comment--><td valign="top" align="center"><span class="bodystyle"><img height="235" alt="" src="http://www.fastuk.org.uk/Assets/Images/pbb/futurefactories.jpg" width="310" name="img"/></span></td></tr></tbody></table></p><p><table cellspacing="0" cellpadding="0" width="725" align="center" border="0"><tbody><tr><td valign="top" align="left" colspan="2"><p><span class="big"><strong>Simon Husslein - Warp</strong></span><strong><br/></strong>This rotating timepiece was designed for the six-storey rotunda of the Great Eastern Hotel, London. Its protruding warped forms, built by digital manufacturing, cast upright shadows of numbers to tell the time when each form is aligned with the light.<br/><br/>Husslein has worked on product design, interfaces, digital fonts, timepieces and furniture and now brings these diverse influences and practices together as a creative designer. He completed his studies at the Fachhochschule Darmstadt in 2000 and has designed for offices in Munich, Frankfurt and Tokyo. Working with Hannes Wettstein in Zurich, he managed projects for clients like BMW, Panasonic and Sony. He is currently studying towards a Masters Degree at the Royal College of Art in London. </p><p><a href="http://www.husslein.net/" target="_blank">www.husslein.net</a><br/></p></td><!--Element not supported - Type: 8 Name: #comment--><!--Element not supported - Type: 8 Name: #comment--><td valign="top" align="center"><span class="bodystyle"><img height="310" alt="" src="http://www.fastuk.org.uk/Assets/Images/pbb/husslein.jpg" width="235" name="img"/></span></td></tr></tbody></table></p><p><table cellspacing="0" cellpadding="0" width="725" align="center" border="0"><tbody><tr><td valign="top" align="left" colspan="2"><p><span class="big"><strong>Justin Marshall - Coded Ornament</strong></span><strong><br/></strong>Through collaboration with Hayles &amp; Howe, a manufacturer of architectural ornamental plasterwork, Marshall has developed a range of plaster mouldings that integrate digital design technologies with traditional manufacturing skills. The installation Morse, a spiral of dots and dashes, relates to the binary nature of digital information and forms the heart of the exhibition. A separate work, Penrose Strapping 1, is a stunning contemporary example of traditional strapwork with scrolls, arabesques, and loops across the wall.<br/><br/>Justin Marshall\'s practice spans sculpture, installation and design. Much of his recent work has been ceramic or plaster based, combining traditional skills with new technologies. Marshall is currently Research Fellow in 3D digital production at University College, Falmouth. His most recent exhibition was at Das Keramikmuseum Westerwald, Hoehr-Grenzhausen, Germany, and in 2005 he was awarded an Autonomatic research grant to work with Hayles &amp; Howe decorative plaster company to develop new processes and work.<br/><br/><a href="http://www.justinmarshall.co.uk/" target="_blank">www.justinmarshall.co.uk<br/><br/></a><strong>Sponsor: </strong><a href="http://www.haylesandhowe.com/" target="_blank">www.haylesandhowe.com </a></p><p align="left"><br/></p></td><!--Element not supported - Type: 8 Name: #comment--><!--Element not supported - Type: 8 Name: #comment--><td valign="top" align="center"><span class="bodystyle"><img height="235" alt="" src="http://www.fastuk.org.uk/Assets/Images/pbb/marshall.jpg" width="310" name="img"/></span></td></tr></tbody></table></p><p><table cellspacing="0" cellpadding="0" width="725" align="center" border="0"><tbody><tr><td valign="top" align="left" colspan="2"><p><span class="big"><strong>Assa Ashuach, Lionel T. Dean, Naomi Kaempfer, Arik Levy &amp; Dan Yeffet - .MGX by Materialise</strong></span><strong><br/></strong>Materialise are specialists in the field of Rapid Prototyping. They offer services to the industrial, medical and dental sectors but with their .MGX brand they have been making major waves in the design world with computer-manufactured designs for lighting and decorative objects. Knowledge of digital tools has allowed the designers to shape and calculate complex mathematical structures. The rapid digital manufacturing techniques of Materialise have enabled these extraordinary shapes to be turned into reality, and have unleashed a new era of rapid manufactured design. </p><p><a href="http://www.materialise-mgx.com/" target="_blank">www.materialise-mgx.com</a><br/></p></td><!--Element not supported - Type: 8 Name: #comment--><!--Element not supported - Type: 8 Name: #comment--><td valign="top" align="center"><p class="bodystyle"><img height="235" alt="" src="http://www.fastuk.org.uk/Assets/Images/pbb/mgx_levy.jpg" width="310" name="img"/></p></td></tr></tbody></table></p><p><table cellspacing="0" cellpadding="0" width="725" align="center" border="0"><tbody><tr><td valign="top" align="left" colspan="2"><p><span class="big"><strong>NIO Architecten - Watermark</strong></span><strong><br/></strong>Watermark is a series of mock-ups of fa&ccedil;ade panels for a cluster of buildings with divergent functions; a music hall, a national soccer museum, a fast food restaurant, a school, a wellness centre and several outdoor activity shops for Middelburg, a Dutch city close to the sea. The panels are embodiments of moods that relate to leisure, crossed with various different characteristics of water: desire-whirl, arousal-cohesion, thrill-humidity, satisfaction-drop, curiosity-drifting, relaxation-rain, joy-floating, excitement-boiling, welcoming-wave and anticipation-ripple.<br/><br/>Maurice Nio (1959) graduated as an architect in 1988 at the Faculty of Architecture of the Delft University of Technology. He set up his own design studio in 2000. Projects include the enormous beetle/waste incinerator of Hengelo (The Hulk), the sound-barrier houses in Hilversum (The Cyclops), the Hoofddorp bus station (The Amazing Whale Jaw), the Wasco warehouse on the outskirts of Rotterdam (Black Mothafucka), the cake-like penthouse (A House for Brad Pitt) and the grey-red tunnel in Pijnacker (Touch of Evil).<br/><br/><a href="http://www.nio.nl/" target="_blank">www.nio.nl<br/><br/></a><strong>Sponsor: </strong><a href="http://www.gravotech.nl/" target="_blank">www.Gravotech.nl </a></p><p></p></td><!--Element not supported - Type: 8 Name: #comment--><!--Element not supported - Type: 8 Name: #comment--><td valign="top" align="center"><span class="bodystyle"><img height="235" alt="" src="http://www.fastuk.org.uk/Assets/Images/pbb/nio.jpg" width="310" name="img"/></span></td></tr></tbody></table></p><table cellspacing="0" cellpadding="0" width="725" align="center" border="0"><tbody><tr><td valign="top" align="left" colspan="2"><p><span class="big"><strong>Ben Woodeson - Chicken Soup From Mars</strong></span><strong><br/></strong>Throughout the exhibition are fourteen pairs of hand-made electro-magnets that tap out Morse code texts from or about self-help manuals with titles such as \'A Guide To Getting\', \'Confidence, Trust and Loving\' and \'Grow Rich\'. The piece reflects Woodeson\'s ongoing interest in technology, communication and how we treat and/or trust information. The Morse code, although recognisable, offers the visitor impenetrable self help.<br/><br/>Born in London , Ben Woodeson studied at Chelsea College of Art and Glasgow School of Art. His other interests include CCTV, voice activated transmitters, bugs, surveillance, conservation of energy, form following function, information systems, information delivery, subversion, reinvention, wire as vehicle, manifestation and transference of energy, radio and sound.<br/><br/><a href="http://www.woodeson.co.uk/" target="_blank">www.woodeson.co.uk</a><br/></p></td><!--Element not supported - Type: 8 Name: #comment--><!--Element not supported - Type: 8 Name: #comment--><td valign="top" align="center"><span class="bodystyle"><img src="file:///C:/Documents%20and%20Settings/Administrator/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/2PY0KU09/woodeson%5B1%5D.jpg" alt=""/></span></td></tr></tbody></table>

[此贴子已经被作者于2006-11-6 20:43:58编辑过]

死弱弱

<p><img class="reflect" height="375" alt="" src="http://static.flickr.com/100/267286749_d82512eef1.jpg?v=0" width="500"/></p><p><img class="reflect" height="375" alt="" src="http://static.flickr.com/90/267286595_63a811a2fc.jpg?v=0" width="500"/></p><p><img class="reflect" height="375" alt="" src="http://static.flickr.com/114/267286544_b2ca0d16ce.jpg?v=0" width="500"/></p><p><span class="big"><strong>Ben Woodeson - Chicken Soup From Mars</strong></span><strong><br/></strong></p><p></p><p><img class="reflect" height="375" alt="" src="http://static.flickr.com/108/267286370_153083d8c5.jpg?v=0" width="500"/></p><p>This is a sound object that you will crave to touch. You don’t hear Ibuki with your ears but by vibrations transmitted through the body. The material used and the shape of the object invites the visitor to embrace it and to rest their chin on it. Vibrations are transmitted through the jaw and the sound can be heard. The experience generates an overwhelming sense of the small object’s huge presence.<br/></p><p></p><p><img class="reflect" height="500" alt="" src="http://static.flickr.com/118/267286336_ac93e81f48.jpg?v=0" width="375"/></p><div class="photoImgDiv" id="photoImgDiv267286257" style="WIDTH: 502px;"><img class="reflect" height="375" alt="" src="http://static.flickr.com/113/267286257_34e5f1da08.jpg?v=0" width="500"/></div><p><img class="reflect" height="375" alt="" src="http://static.flickr.com/57/267286170_20077272ff.jpg?v=0" width="500"/></p><p><span class="big"><strong>NIO Architecten - Watermark</strong></span><strong><br/></strong></p><p><script type="text/javascript"></script><form id="fave_form" method="post" style="VISIBILITY: hidden;"></form></p><p></p><img class="reflect" height="375" alt="" src="http://static.flickr.com/122/267285865_1539c10bde.jpg?v=0" width="500"/><p><img class="reflect" height="375" alt="" src="http://static.flickr.com/106/267285816_bea159962a.jpg?v=0" width="500"/></p><p><img class="reflect" height="375" alt="" src="http://static.flickr.com/93/267285764_eb89fdfdae.jpg?v=0" width="500"/></p><p><img class="reflect" height="375" alt="" src="http://static.flickr.com/111/267285710_ebc8100c09.jpg?v=0" width="500"/></p><p><span class="big"><strong>Justin Marshall - Coded Ornament</strong></span></p><p><span class="big">Justin Marshall与一家建筑装饰制造商合作，用灰泥制作了名叫装饰代码的系列作品。这系列包括了摩尔斯式电码装置，其原理类似摩尔斯式电码中短标记“dots”和长标记“dashes”。他运用装饰的原理结合数字化图案找寻其中的美学元素。更多的融合传统与数字化的作品，</span><br/></p><p><strong></strong></p><p><img class="reflect" height="375" alt="" src="http://static.flickr.com/89/267285497_913fae36c1.jpg?v=0" width="500"/></p><p><img class="reflect" height="375" alt="" src="http://static.flickr.com/86/267285402_3bb05c9d6a.jpg?v=0" width="500"/></p><p><img class="reflect" height="375" alt="" src="http://static.flickr.com/90/267285338_82aaf50a15.jpg?v=0" width="500"/></p><p><span class="big"><strong>Simon Husslein - Warp</strong></span><strong><br/></strong></p><p><strong><img class="reflect" height="375" alt="" src="http://static.flickr.com/104/267284464_a35d357fdf.jpg?v=0" width="500"/></strong></p><p><strong><img class="reflect" height="375" alt="" src="http://static.flickr.com/103/267284417_41653756ba.jpg?v=0" width="500"/></strong></p><p><strong><img class="reflect" height="375" alt="" src="http://static.flickr.com/41/267284377_6112b96147.jpg?v=0" width="500"/></strong></p><p><strong><img class="reflect" height="375" alt="" src="http://static.flickr.com/79/267284330_9d7c4cf98f.jpg?v=0" width="500"/></strong></p><p><strong><img class="reflect" height="375" alt="" src="http://static.flickr.com/93/267284284_bcaed2bada.jpg?v=0" width="500"/></strong></p><p><strong>Future Factories - Holy Ghost<br/></strong></p><p><strong><img class="reflect" height="375" alt="" src="http://static.flickr.com/82/267284095_143ea29414.jpg?v=0" width="500"/></strong></p><p><strong><img class="reflect" height="375" alt="" src="http://static.flickr.com/117/267284111_6e2b260a80.jpg?v=0" width="500"/></strong></p><p><strong><img alt="" src="http://static.flickr.com/122/267284123_634b25a520_o.jpg"/></strong></p><p><strong><table cellspacing="0" cellpadding="0" width="725" align="center" border="0"><tbody><tr><td valign="top" align="left" colspan="2"><p class="big"><strong>Brit Bunkley - Sheep Jet Head<br/><img class="reflect" height="375" alt="" src="http://static.flickr.com/95/267284081_bf6ae16dd8.jpg?v=0" width="500"/></strong></p><p class="big"><img class="reflect" height="375" alt="" src="http://static.flickr.com/107/267284037_9294e72511.jpg?v=0" width="500"/></p><p class="big"><strong>Simon Blackmore - LSD Drive</strong></p></td></tr></tbody></table></strong></p><p><img alt="" src="http://static.flickr.com/41/267284018_d676f157d3_o.jpg"/></p><p><img alt="" src="http://static.flickr.com/110/267283930_43a128d822_o.jpg"/></p><p><span class="bodystyle"><strong class="big">Gavin Baily &amp; Tom Corby</strong><br/>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<strong class="big">- Cyclone.soc </strong></span></p><p><span class="bodystyle"></span>Gavin Baily &amp; Tom Corby的装置<font color="#000000">Cyclone.soc运用flamewar</font>-ridden再现网络上关于政治或是宗教问题的争论。文字以“卫星云图”的形式排布。他们解释说突发的争论会以飓风的形式呈现在“卫星云图上”，当然一切表现手法都是美丽的。</p><p><br/><br/></p><p><strong></strong></p>

[此贴子已经被作者于2006-11-6 20:57:29编辑过]

胫骨

<p>挂个横幅:玩的就是心跳</p><p></p>

死弱弱

<table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td class="artistname" colspan="2"><b>Ben Woodeson</b></td><td valign="top" rowspan="2"><table cellspacing="0" cellpadding="0" width="200" border="0"><!--Element not supported - Type: 8 Name: #comment--><tbody><tr><td colspan="2"><img alt="783.6cm to 783.83cm 70 °c " src="http://www.newcontemporaries.org.uk/media/2002/artists/mediaWeb_174_woodeson_b1.jpg" width="200" border="0"/></td></tr><tr><td width="20"><img height="20" alt="" src="http://www.newcontemporaries.org.uk/images/white_dot.gif" width="20" border="0"/></td><!--Element not supported - Type: 8 Name: #comment--><td class="worktitle"><b>783.6cm to 783.83cm 70 °c </b><br/>2002, inductance coil, transformer, pillar </td></tr><!--Element not supported - Type: 8 Name: #comment--><tr><td colspan="2"><img alt="783.6cm to 783.83cm 70 ° c " src="http://www.newcontemporaries.org.uk/media/2002/artists/mediaWeb_175_woodeson_b2.jpg" width="200" border="0"/></td></tr><tr><td width="20"><img height="20" alt="" src="http://www.newcontemporaries.org.uk/images/white_dot.gif" width="20" border="0"/></td><!--Element not supported - Type: 8 Name: #comment--><td class="worktitle"><b>783.6cm to 783.83cm 70 ° c </b><br/>2002, inductance coil, transformer, pillar </td></tr><!--Element not supported - Type: 8 Name: #comment--><tr><td colspan="2"><img alt="783.6cm to 783.83cm 70 ° c " src="http://www.newcontemporaries.org.uk/media/2002/artists/mediaWeb_176_woodeson_b3.jpg" width="200" border="0"/></td></tr><tr><td width="20"><img height="20" alt="" src="http://www.newcontemporaries.org.uk/images/white_dot.gif" width="20" border="0"/></td><!--Element not supported - Type: 8 Name: #comment--><td class="worktitle"><b>783.6cm to 783.83cm 70 ° c </b><br/>2002, inductance coil, transformer, pillar </td></tr></tbody></table></td></tr><tr><td class="cvtext" valign="top"><!--Element not supported - Type: 8 Name: #comment-->b.1965 London<br/>2000-2002 MA Fine Art, Glasgow School of Art<br/>1994-1997 BA (hons) Fine Art, Glasgow School of Art<br/><br/>2004 Residency, Sculpture Space Inc, Utica, New York<br/>2003 Skowhegan School of Painting and Sculpture, Maine, USA<br/><br/><br/><b>Recent Exhibitions</b><br/>2004 Not Yet Titled, Mercer Union, Centre for Contemporary Arts, Toronto, Canada<br/>2003 Free Fall, Peterborough Digital Arts<br/>2002 Power to The People, Contemporary Art Forum, Kitchener, Canada<br/>2002 Piccadilly Radio, Bowie Art Window Project, London<br/>2002 Us and Them, Great Eastern, London<br/>2001 In Too Deep, the Red Gallery, Hull<br/>2001 Everyday Value, The BBQ Project, Berlin<br/>2001 Haiku Installation, London Guildhall University<br/>2000 Disruptive Familiarities, Stuff Gallery, London <br/>2000 Neo- - -, Waygood and Globe Galleries, Newcastle upon Tyne <!--Element not supported - Type: 8 Name: #comment--><br/><!--Element not supported - Type: 8 Name: #comment--><br/><br/>I like the tinkering, the pottering, homemade, low tech, man in garage, romantic quality of Ben Woodeson抯 engagement with the process of making large magnets. The low-tech magnets incorporate both phenomenological and practical exploration. Rediscovering the world through schoolbook science is extended to the gallery space where metaphors of mapping and exploration continue as the magnet literally shifts the axis of the gallery, perceivable only with a compass</td></tr></tbody></table><p></p><p>这个人的作品都是纯手工制作，图为他做的便携式窃听器。</p><p>毕业于格拉斯哥大学，走low tech路线。</p>

[此贴子已经被作者于2006-11-20 18:13:11编辑过]

胫骨

1965年出生还比我们打不了多少???

死弱弱

我看错了！！

独角兽

<p>这可怎么好啊~~！~！</p>