“wanderlost”
collage
february 2012
A collage of diverse satellite imagery combined into one map, creating a new and nonsensical landscape of our (?) planet.
(via fuckyeahcartography)
“wanderlost”
collage
february 2012
A collage of diverse satellite imagery combined into one map, creating a new and nonsensical landscape of our (?) planet.
(via fuckyeahcartography)
An acoustic locator dish in Kent, England: built 1928
This 30-foot high dish is located at Greatstone, Kent. The small concrete hut in front housed the operators. The vertical mast in the centre carried the acoustic pickup tubes. A static dish can be much larger than a fully steerable horn, giving more acoustic gain and the possibility of detecting aircraft at greater ranges. The pickup tube could be moved sideways to “steer” the direction of maximum sensitivity by a limited amount.
(via Acoustic Radar.)
(via Acoustic Radar)
Jean Auscher’s maritime acoustic locator: 1960. This remarkable headgear was invented by Frenchman Jean Auscher as an acoustic navigation device in case of radar failure on small vessels. Shown at the 1960 Brussels Inventor’s Fair, and, one suspects, nowhere else ever again. This picture can also be seen in the “Failed Projects” department of the Amplifier Institute, here: Jean Auscher. (via Acoustic Radar.)
Acoustic Location and Sound Mirrors:
A two-horn system at Bolling Field, USA, in 1921
The building in the background is the Army War College at Fort McNair.
(via Acoustic Radar.)
The Bureau of the Centre for the Study of Surrealism and it’s Legacy
Mark Dion, 2005, contemporary art installation / book
£0.00
Recalling the short-lived Bureau de Recherches Surréalistes of 1924−1925 − part information centre and ‘public relations’ office, and part surrealist archive − Mark Dion has trawled the Manchester Museum’s own collections and found the raw material for this book and a new installation in the museum.
Museums’ attempts to classify and present the world in miniature inevitably mean that much of their collections are forgotten and marginalized. Renowned for his work exploring taxonomy, archaeology and ecology, Mark Dion, in his Bureau documents his opportunistic encounters with the Museum of Manchester’s neglected drawers and overlooked recesses that are home to redundant labels, orphaned mounts, defunct teaching models, botanical freaks, Egyptian fakes and the minutiae that have fallen through the cracks of museum practice and lain abandoned. Dion’s Bureau of the Centre for the Study of Surrealism and its Legacy is both a repository for the detritus of museum life and a working process, classifying the museum’s un-classifiable whilst exploring the bureaucratic workings of the institution.
Essays by Anna Dezeuze, Julia Kelly and David Lomas
Published as part of Book Works Opus Projects (Opus 4) by Book Works and The AHRB Research Centre for the Studies of Surrealism and its Legacies in association with Alchemy/The Manchester Museum, The University of Manchester
Edition of 1,000 copies. Out of print.
The consequence of bringing together these areas of study* is a constructed environment that collapses the sublime and the surreal in a “research” space whose exact function remains ambiguous.
*[surrealism, museology, natural history]
Life-sized model of a kingfisher made of discarded IRN BRU cans collected from River Kelvin walkway.
Re-installed beside River Kelvin walkway, Glasgow, 2006.
(via Jethro Brice | artwork about human and animal lives in an unstable world)
Hogback gravestone in the cemetery at Govan Old Parish Church, c 1900.
The carved hogback stones were created around the 10th century to cover the graves of prominent men or women in the important British settlement in the Govan and Partick area. In 2004 the five surviving hogbacks are held in the church and can be viewed by visitors.
Reference: Photo B12, Glasgow City Archives
(via TheGlasgowStory)
(via The Riverside Museum, Glasgow. Tom Manley Architectural Photography)
Zaha Hadid’s Riverside Museum is a new landmark on the edge of the Clyde, and home to Glasgow’s Transport collection. It makes a big impression on the river frontage and its dynamic appearance is certainly getting a reaction. I’ve enjoyed photographing the building as preparations were made to open the doors to the public…Situated where the River Kelvin meets the Clyde, on a barren former industrial site offering great vantage points, it seems to be drawing people out to explore new parts of the city and the rivers edge, which has got to be a good thing. With a new ferry link operating across the river to Govan, perhaps The Riverside Museum’s lasting success lies in its ability to encourage regeneration and breathe new life to the neighbourhood where Glasgow’s shipbuilding pride was originally built.
A further review here
)
Just learned that the song ‘Stars and Stripes Forever’ was used as a secret audio signal ( = disaster ) for circus workers…:
“The worst tragedy in the annals of circus history occurred during the afternoon show of the Ringling Brothers Circus on July 6, 1944, at Hartford, Connecticut. With nearly 7,000 people enjoying the performance, the big tent suddenly became engulfed in flames. As fire spread up the side walls and raced across the top of the tent, the bandmaster, Merle Evans, swung his band into the song Stars and Stripes Forever — the circus disaster tune. The sound of this tune moved all employees into high gear. The horses, elephants, the lions and tigers, were quickly led out of the tent out of danger.
(via Chas’ Compilation: A History of the Two Worst Circus Tragedies)
yes, please….
(if you know where this image is from—pls advise…)
Madison Square Garden Circus, October 1921. Source: NYPL
The Martell Troupe (c1950s)
(via The Circus Blog)
