Wednesday, December 10, 2008

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for example ... CITY AIMING












for example ... The exhibition space within a gallery or museum site is presented as content, ie which is a space battleship mannered instigates a fortress from the inside out and outside in, so it is clear that there is wound with a certain character a power play that opposition happens in an act of inclusion or exclusion. It is an object of desire, which is to arrive, which it wants to enter, be in or be outside, to reach non-stop, also log on deny.
It may be noted, which is invested in white space and that this vacuum yielded, among other things, is an area that rises from countless viewpoints and is named as the white cube. It is a space framed under the boundary condition but with the imminent possibility of operating from the edge, which involves taking the necessary distance to find the turning point in the space provided.
For example ... symbolic displays in his condition, the striker, as a benchmark of what once was a tool to tear down walls or fortresses, that tackle, became the first siege weapon that effectively allowed overcome obstacles the mentioned bastions. "The door is always open then emphasizes the inner wall, it reminds us that to close it would have been sufficient to prevent the passage" 1
However, what appears as construction of physical space, is given from the concealment of what should be is say that from their physical appearance that conceals what is actually, because, in the silent space that reveal clues appear, the test of time or forgetting things that are or appear old, things that appear in the eyes , sedan through impulses, instincts, movements or events that occur in the mismicidad of things themselves, there are things that become visible, emerging from the hidden things bowels of the same things, but they are evident as they are just a setback or obstacle on the road. On the other hand
:

The object becomes a white mass in a volatile body of great expansion, in each of his limbs its base is a circle which may be comprised in proportion to a body with outstretched arms; these two extreme parties can be understood as the beginning and the other as at the end, however, and for purposes of making clear there is no such relationship between the object itself and perhaps this in itself is in correspondence with the space.
With regard to the body in space, suggests that it is like a capsule whose content is not more than the same circles on the outside, the air, implicit in the gallery space, is the concept underlying both as food and standing walls of the great mass voluble. Regarding the size of the object that was mentioned earlier, it appears to do a tour along about fifteen paces back and equally as many back.
however, is not exactly the air suspending the white mass in space, are only six tensors arising from the roof of the exhibition space, to be attached with bands of the same material of the object to be supported, however, as the material has not been named, is the time to do so, his condition is matérica rubber, if you have any importance in understanding what happens to the object that may arise in its entirety.

Therefore, there are six bands that girdle mannered abdomen embrace the dense body to rest so much rested on one or the other.
This makes the object becomes a device, a device ready to plug in a silent machine, a mechanism that asks the other to be aggregation machine. Machine may desire.
After climbing the stairs from first floor to the second, there is suddenly a white object that swings in space, is an object that directly threatens the entrance gate does not exist. The object enters and exits the empty space of the door in a hostile swing subsides after several attempts from an activation to an agonizing life on the border demarcated space, at first glance suggests a circle, once the object is moving, on an impulse, push or jolt caused by a subject, in addition to what is the other and only then, result in a surprise outcome of what is, in what appears, what touches us, what is it, what is not , of the thing, for example ...

1 SAW Santiago. Flag of Spain. 50 ª Bienal de Venecia. pg., 168, Edit. Turner. 2003

Thursday, March 6, 2008

Vuze Unauthorized Tracker





CITY AIMING

The city's a stage, at the confluence of many activities that involve from the everyday, so, like walls and walls withstand a constant onslaught of impressions ranging from graffiti to graphic prints on paper creating a surface packed with information to be transformed in a piecemeal fashion in a collage that exceeds the limits in relation to city space. In some ways, these imprints on the walls, are seen as sudden and fleeting appearances where the addition and accumulation are the trace evidence that is printed every gesture.
on some walls of the city, are great pieces sheet posters, acting as a skin leaving the wall, as if skinning, peeling, or be torn allowing penetrating look inside a body. Coarse
city, provides a thorough collection of these large pieces of paper that emerge as a great skin, which embodies a form of writing by way of hypertext that amalgamate to be read as a new object, by way of a codex of a monolith, a city a bundle package. Pick, pick, wrap, wrap each scriptural content that appear as mutations in the surface or skin of each wall in the city.
DESCRIPTION: The proposal is AIMING CITY building or stack of posters in a large roll, from the roles that fall off the walls found in the city, the object has a height of 210cm, a diameter of 220 cm and over is constituted by 200 meters of paper, but based on the size of the roll is given in a square meter basis.

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the visible sign of something
























visible It

The production of technological objects, mechanical and / or rudimentary patterns that reproduce by overflowing proliferate in a constant battle for innovation and discontinuation; different are the characteristics which create or construct such objects are mediated by constant or different aspects concerning the functional, aesthetic, decorative, ornamental and sophistication of shapes, materials, technical systems and object-based languages \u200b\u200bfor understanding multiple classifications and lose it limits the universe that surrounds the differences and comparisons.

design is one of the most important aspects in building new forms or objects of a specific form, there is a variation, the shapes become more synthetic, as the reason for which they are You pour or manufactured; influence the impact on particular means, if by hand or by check the contrary is subject to mass production, indiscriminate and technology that minimize costs and diversifying the market and wasting involving the force in record time.

Moreover, the objects become direct reference to the needs created in the system environment of man, appoint and determine specific qualities and requirements for special and unexpected. Objects have the particularity to be anchored as a viewer in minds of men, ie have the ability to see through the eyes of those looking to own them in some way. "Next great technology for glasses, lenses, light beams that form the body with the foundation of physics and cosmology new, there have been small surveillance techniques of multiple and intersecting, some glances must see without being seen "(p. 176 Michel Foucault Discipline and Punish 2003 twenty-first century)

There are objects, which are really prepared to see their genetic structure, look, observe, atone for, monitor, among other qualities and characteristics of technological voyeurism . Inter alia surveillance cameras (of things to see up close and touch up close, things to want or be able to cherish). The culture of fear and control are factors that most unexpected sized strategies of equipment camouflage or mimic to visualize the presence of each of the suspects that eventually all of us and each other (the object is now refracting the subject and imposes its presence and random, its discontinuity, its fragmentation, its stereo and artificial instantaneous.) Jean Baudrillard, The Perfect Crime, p. 104 edit. logo in 1996 (and not us who think the object but the object that we think to ourselves (100) ibid

In the visible, involves the construction of 14 video surveillance cameras, at a real object, its structure is materica from molten metal and lightweight (aluminum), is an object of mimesis and appropriation of a real object in this case is considered as a vacuum equipped with volume and with a function that fits the visual and mental impairment that would be what is known about the object and its possible implications. It is a visual reference, a visual object that displays the loss, destruction, disappearance of objects or bodies that are affordable and within a certain scope, giving the look of a spatial arrangement. It

visible, consists of 14 cameras video surveillance, which should be located one meter seventy floor on the wall, each camera will have a mobile device that will give you a panning motion from right to left and vice versa in a rotation of 190 degrees. The location should do strategically in the exhibition space.




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Clue
something

The project sign of something is a reflection about the elements that tend to notice the presence of the painting, and is therefore on the surface of the walls in buildings of architectural spaces and some things or objects, this can be understood as a bodily gesture of painting materials that are structured to determine the structure and appearance of a building like that end up creating an illusion from the representation of some graphs, in other words the reason for the pictorial is given by the sampling of pigments underlying things and give an appearance; is through an act of generosity that can identify and sort these signals under a visual possibility. "On the edges of holes displaced material protruding from the surface:" (1)
Certain architectural spaces embody over time a layer of pigment that flaunt the appearance of places, the painting appears in layers incorporated a somewhat cloistered himself in the essence of the surface of the walls, rearranging and over again, which may be a number of successive renovations that are changing the way leather coatings, which in turn give a new look the walls of buildings, as of things.
Therefore, an image is constructed in the order of painting, from confrontation of a real object referred to in this particular case to a frame, which adds to the architectural space, in conjunction with the pictorial material given on the condition of the wall itself as the object. To inquire about the condition of one as the other, from a process of exploration and recovery of a single track in the layers of paint, found in a wall, so, in summary it is proposed that an entire act with intent from the pictorial, in evidence to the reality

(1) HESS, Barbara. LUCIO FONTANA. Taschen. 2006

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a reflection, discontinuous










A Reflection, discontinuous

Thinking in mobility today is contemporary art events, it becomes visible as a manifestation of the tradition from refuses to follow from his own immanence intricate front and to the things that are permissible in essence. Perhaps, because, as every act of repetition, establishes itself in certain contexts orientation coordinates, ie as a means of expression that responds from the serial and it continued to find multiple repetition and circulation patterns to events.

Therefore, this means that in each of the daily events necessarily continuously activated and reflexes that despite being involuntary or unconscious arise in response to an impulse of self and things. Nature, active at every instant of time and space, revealing its cyclical aspect, but suddenly bursts and rolls to create a new archetype of reproduction.

practices in contemporary graphics, the presence of the particular work has entered a game where your name as they have expanded their dependability, challenging and critically extended a reality that is tipped to be understood from the act itself. "The future near the engraving will be an illustration of the discourse of history to become a resort representative reproduction "(1); events like the pulse of the contemporary way to register a map, so that by unveiling a something, Support comes up with a reflex, a stimulus, an unfathomable impression that accounts for a course. Then, no solution is found, is that it is another way to permeate the links to things, people and contexts.

The shadow is the essence inseparable from the body, as in any act reveals their presence, the shadow is an achromatic movement that explores a way to replicate their own stamp. The body is hidden, the shadow mask expands to the delusion of vital act as a stamp of the corporeal. The mobility of the shadow diluted his beloved object stability.

1. PASTOR, Mellado Fair's challenge Recorded: Potential New Practices page. 31. In San Juan Poly / Graphic Triennial: Latin America and the Caribbean.