In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read more- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
- –In: LABO RUIMTE, De Droge Delta. Hoe we van Vlaanderen weer een spons kunnen maken, Departement Omgeving, Brussel, 2023
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreIn April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreBook launch, 019, Gent, 22/03/2024
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreBook launch, 019, Gent, 22/03/2024
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreBook launch, 019, Gent, 22/03/2024
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreBook launch, 019, Gent, 22/03/2024
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Major eruptions have followed since, with the next eruption dangerously looming. Each eruption leads to the next cataclysm, each period of quietude to forgetfulness and complacency.
Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. It researches the different temporalities, scientific and popular approaches, historic and present-day photographic representations, and stories inscribed in this cyclical landscape.
read moreBook launch, 019, Gent, 22/03/2024
As the wind deposits dust, and dirt settles into soil, the landscape forms. The amassment of dirt and specks transfers pressure upon pressure, upon pressure. What erodes elsewhere, gathers here. Until carbon turns into diamond, and compression into capital.
Capital Compression explores the poetics of blockchain technology – photographically and discursively. The publication employs and tests strategies of authentication and documentation. A hashed poem, a series of twenty photographs, and an essay intertwine. Each appropriates aspects of blockchain: its functioning, appeal and semiotics.
read moreAs the wind deposits dust, and dirt settles into soil, the landscape forms. The amassment of dirt and specks transfers pressure upon pressure, upon pressure. What erodes elsewhere, gathers here. Until carbon turns into diamond, and compression into capital.
Capital Compression explores the poetics of blockchain technology – photographically and discursively. The publication employs and tests strategies of authentication and documentation. A hashed poem, a series of twenty photographs, and an essay intertwine. Each appropriates aspects of blockchain: its functioning, appeal and semiotics.
read moreAs the wind deposits dust, and dirt settles into soil, the landscape forms. The amassment of dirt and specks transfers pressure upon pressure, upon pressure. What erodes elsewhere, gathers here. Until carbon turns into diamond, and compression into capital.
Capital Compression explores the poetics of blockchain technology – photographically and discursively. The publication employs and tests strategies of authentication and documentation. A hashed poem, a series of twenty photographs, and an essay intertwine. Each appropriates aspects of blockchain: its functioning, appeal and semiotics.
read moreAs the wind deposits dust, and dirt settles into soil, the landscape forms. The amassment of dirt and specks transfers pressure upon pressure, upon pressure. What erodes elsewhere, gathers here. Until carbon turns into diamond, and compression into capital.
Capital Compression explores the poetics of blockchain technology – photographically and discursively. The publication employs and tests strategies of authentication and documentation. A hashed poem, a series of twenty photographs, and an essay intertwine. Each appropriates aspects of blockchain: its functioning, appeal and semiotics.
read moreAs the wind deposits dust, and dirt settles into soil, the landscape forms. The amassment of dirt and specks transfers pressure upon pressure, upon pressure. What erodes elsewhere, gathers here. Until carbon turns into diamond, and compression into capital.
Capital Compression explores the poetics of blockchain technology – photographically and discursively. The publication employs and tests strategies of authentication and documentation. A hashed poem, a series of twenty photographs, and an essay intertwine. Each appropriates aspects of blockchain: its functioning, appeal and semiotics.
read moreAs the wind deposits dust, and dirt settles into soil, the landscape forms. The amassment of dirt and specks transfers pressure upon pressure, upon pressure. What erodes elsewhere, gathers here. Until carbon turns into diamond, and compression into capital.
Capital Compression explores the poetics of blockchain technology – photographically and discursively. The publication employs and tests strategies of authentication and documentation. A hashed poem, a series of twenty photographs, and an essay intertwine. Each appropriates aspects of blockchain: its functioning, appeal and semiotics.
read moreAs the wind deposits dust, and dirt settles into soil, the landscape forms. The amassment of dirt and specks transfers pressure upon pressure, upon pressure. What erodes elsewhere, gathers here. Until carbon turns into diamond, and compression into capital.
Capital Compression explores the poetics of blockchain technology – photographically and discursively. The publication employs and tests strategies of authentication and documentation. A hashed poem, a series of twenty photographs, and an essay intertwine. Each appropriates aspects of blockchain: its functioning, appeal and semiotics.
read moreAs the wind deposits dust, and dirt settles into soil, the landscape forms. The amassment of dirt and specks transfers pressure upon pressure, upon pressure. What erodes elsewhere, gathers here. Until carbon turns into diamond, and compression into capital.
Capital Compression explores the poetics of blockchain technology – photographically and discursively. The publication employs and tests strategies of authentication and documentation. A hashed poem, a series of twenty photographs, and an essay intertwine. Each appropriates aspects of blockchain: its functioning, appeal and semiotics.
read moreAs the wind deposits dust, and dirt settles into soil, the landscape forms. The amassment of dirt and specks transfers pressure upon pressure, upon pressure. What erodes elsewhere, gathers here. Until carbon turns into diamond, and compression into capital.
Capital Compression explores the poetics of blockchain technology – photographically and discursively. The publication employs and tests strategies of authentication and documentation. A hashed poem, a series of twenty photographs, and an essay intertwine. Each appropriates aspects of blockchain: its functioning, appeal and semiotics.
read moreAs the wind deposits dust, and dirt settles into soil, the landscape forms. The amassment of dirt and specks transfers pressure upon pressure, upon pressure. What erodes elsewhere, gathers here. Until carbon turns into diamond, and compression into capital.
Capital Compression explores the poetics of blockchain technology – photographically and discursively. The publication employs and tests strategies of authentication and documentation. A hashed poem, a series of twenty photographs, and an essay intertwine. Each appropriates aspects of blockchain: its functioning, appeal and semiotics.
read moreAs the wind deposits dust, and dirt settles into soil, the landscape forms. The amassment of dirt and specks transfers pressure upon pressure, upon pressure. What erodes elsewhere, gathers here. Until carbon turns into diamond, and compression into capital.
Capital Compression explores the poetics of blockchain technology – photographically and discursively. The publication employs and tests strategies of authentication and documentation. A hashed poem, a series of twenty photographs, and an essay intertwine. Each appropriates aspects of blockchain: its functioning, appeal and semiotics.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreRing binders in the architect’s archive are filled with photographic negatives. Subjects are scattered. The documents try to tell a story of an existing condition. This is the state things are in. Buildings are perpetually unfinished. The dog keeps barking. It’s our third birthday, again. A plot emerges.
The Situation As It Is is a photonovel based on an architect’s photographic archive. It tells the story of the events leading up to an unsettling state decree and its aftermath. Sometime in the early 1990s, from one day to the next, the decree declared that the built landscape had to be preserved. It prohibited any new construction. ‘The situation as it is, will be the situation as it is.’ The effects, both on the landscape as on the lives of those involved, would be far-reaching.
read moreA growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
[in a car]
[constant hum of the engine and road in the background, music playing, FM radio]
– ‘That went well.’- ‘What’s that?’[driver turns down the radio’s volume]- ‘That went well.’- ‘Yep, more or less like I expected.’- ‘The staircase was the toughest part.’- [laughs] ‘It was. Good thing you brought a rope.’- ‘I didn’t.’- ‘Whose was it then?’
[traffic report on the radio, driver turns the volume up again]
– ‘I’m surprised there’s this much traffic at this time of night.’- ‘Probably all taking a head start for the weekend.’
[traffic report ends, music playing]
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
‘For every four ships like these [points at the Nanaimo Bay bulk carrier*], one ship with processed wood leaves.
[…]
No, I never worked in the wood industry, I’m a retired mixed concrete truck driver. I used to ride for Heidelberg.
[…]
They say they export the raw logs because the Japanese and the Chinese use different dimensions for their lumber.
[…]
We could reset the saws and the machines to make these dimensions. That’s not the reason.’
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Four fishermen, a bystander and a family of four look out over the Aspropyrgos Bay with their backs turned to the Thriasian Plain. The plain is bounded by Mount Egaleo to the east, Mount Parnitha to the north, Mount Pateras to the west, and the Elefsina and Aspropyrgos Bay to the south. Today it is a site of concentrated industrial development with cement factories, steel mills, shipyards, scrapyards and oil refineries. In a feud over the ownership of the area between Athena and Poseidon, the latter flooded the plain in wrath.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
The names ending in -ITY were originally selected by Miss A.E. Everard – the shipowner’s spouse – from Nuttals Standard Pronouncing Dictionary published by F. Warne et Co. circa 1872. The volume had belonged to her mother and is still in existence. Many of the ship names can be seen underlined in pencil.
The choice was confined to S-names for the larger dry cargo ships, C-names for the smaller dry cargo ships and A-names for tankers.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
[a meeting room at the Sant Juan Bautista museum, Ishinomaki, Japan]
[wood clad walls and ceiling, a dark polished wooden table, twelve leather chairs, a scale model and a window facing the sea]
[with Koichi Ohtsu [interpreter], Ms. Nakazawa [curator] and M.D.C.[photographer]]
[cough]
[footsteps]
[briefcase opening]
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
[Ms. Nakazawa shows a damage report in a purple folder]
K.O.: Please have a look at all these photos. These pictures are a report of the destruction following the tsunami.’
M.D.C.: ‘Could I make some photographs of this document?’ K.O.: ‘She will ask her superior.’
[Ms. Nakazawa disappears into the adjacent room]
M.D.C.: ‘Is it okay for you to work like this?’
K.O.: ‘I am sorry for my clumsy English.’
M.D.C.: ‘Oh no, it’s fine.’
K.O.: To be honest, it is the first time I speak English in about six months. Because there is no one in Ishinomaki I can talk English to.’
M.D.C.: ‘I couldn’t t…’
[Ms. Nakazawa enters the room again]
K.O.: ‘You can take pictures of the damage report
but only of photographs without any people.’
M.D.C.: ‘Thank you. Could I also make a portrait
with the scale model behind Ms. Nakazawa’s back?’
K.O.: ‘If it is documentary, it is okay.’
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
B.T.: ‘Due to delays, the pacemaker will be here for at least the next forty years. But of course for this kind of device, such an amount of time is miniscule. Plutonium 238 has a half-life of 88 years and decays into uranium with a half-life of 243 000 years.
M.D.C.: ‘All this time the device functions inside its container of sand and mortar?’
B.T.: ‘Yes, as longs as the plutonium battery doesn’t run out, and there is no reason to believe it will anytime soon, I guess it will keep functioning. I propose we take a walk to see the different places where this pacemaker has been.’
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
– ‘I always wonder what they grow in those orange illuminated greenhouses.’ [points at orange illuminated greenhouse, [N15]]
– ‘Don’t know.’
– ‘Orchids?’
– ‘Who needs that many orchids?’
– ‘Your mom.’
[laughter]
– ‘It’s sodium light, low pressure sodium, the same kind of bulbs they use to light this highway.’
– ‘Why is that? Efficiency?’
[driver turns down the radio’s volume]
– ‘They use it to light roads because the wavelength these bulbs emit is exactly the wavelength the human eye is most sensitive for. So less energy is needed to make us see more.’
– [nods]
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Good morning from Athens airport,
The ships that are bunked in anchorage area are ships ‘laid-up’, not in operation, either it was the shipowner’s decision because they couldn’t find cargo (so running expenses were high without profit) or subject ships have been arrested by banks (loaners) and port authorities due
to shipowners debts.
So, ships remain there with unknown future, although some of them must be scrapped but nobody undertakes the responsibility and expenses because they don’t care. Some good ones are just awaiting a shipping market raise in order
to be reactivated.
Ready to fly, Stefanos
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
M.D.C.: ‘You talk about visible light, but let’s assume it is possible to be inside the tunnel when it is working and I would look through this viewport, to the mirror, would my eye be able to see anything or nothing at all?’
G.T.: ‘Absolutely’
M.D.C.: ‘So it is no extremely weak light?’
F.R.: ‘No, you could see it.’
M.D.C.: ‘So am I right to assume that the beam pipe
is illuminated for its entire length?’
G.T.: ‘The light is not coming through, you can not see it.’
M.D.C.: ‘No, but if…’
G.T.: ‘If you put a glass vacuum chamber, you see light everywhere.’
F.R.: ‘It is a sweep of light. But you can not have a glass vacuum chamber.’
M.D.C.: ‘So if we think about the inside of the tunnel it is illuminated.’
G.T.: ‘The beam pipe, not the tunnel in its entirety but the vacuum chamber within it.’
M.D.C.: ‘Right, so the inside of the beam pipe is illuminated. But we can only think it, we can never see it.’
G.T.: ‘Yes, definitely, it’s lit, it’s full of light, but you can not see it. We extract it only at one point.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
We stood among various exhibition objects, most of them in plywood cases or bubble wrap. He told me he knew every object in the building, but he couldn’t recall ever having come across rock samples. He assumed the document server is no longer up to date and that the rock samples are probably stored elsewhere.
He remembered a story his local librarian once told him: if a book is returned to the wrong shelf, or a reference is one letter off in the catalogue, the book might be lost forever and can only resurface by coincidence.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
[floating above the Boeing 737 artificial reef
in Chemainus, Canada]
[a conversation between Peter, Andy and M.D.C.]
A.L.: ‘There’s skeleton shrimp all over my gloves.’
P.L.: ‘They were all over the descent lines, did you see the wolf-eel in the cockpit?’
A.L.: ‘I did, a lot of jellyfish too.’
P.L.: ‘Good dive, right? Good visibility.’
A.L.: ‘I could see half of the plane from the tail.’
P.L.: ‘Could you help me with the zip of my suit? We have to start heading back, I have a ferry to catch.’
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
The next morning. The smell was distinct, but the fireground could not be found. A local resident, walking a crossbreed dog, didn’t know of a fire.
She had been walking all morning and hadn’t seen any signs of it.
None, whatsoever.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
In September 2014 the AIS-transponder signalled the Authenticity in Chemainus, Canada, in the harbour next to the mill. Afterwards no positions were received.
When the photograph was taken, the Authenticity was nowhere to be seen.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Dear Sir or Madam,
I am a documentary photographer and I would like to make a documentary about the reinforcement structures on Mount Fuji. I am hoping you could help me.
In his ‘Court traité du paysage’ Alain Roger (Gallimard, 1997) talks about the reinforcements that were built in the eighties to try and halt the effects of erosion on the iconic conical shape of Mount Fuji. He says that in an attempt to ensure the mountain would conform to its image, concrete structures were built. A 1984 New York Times-article speaks of a ‘cement band aid’ to slow down the erosion in the Osawa failure at a height of 7200 feet.*
I have been reading the Mt. Fuji Sabo Office-website but I was wondering whether you know of these constructions this high up the mountain that were built in 1982 and whether there are other new constructions at these heights? My main interest is not in the sediment systems at the foot of the mountain but in the constructions higher up on the mountain in the actual Osawa failure that try to keep the mountain together. Do you have any information on these structures?
Thank you very much,
Kind regards,
Michiel De Cleene.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
[the sound of footsteps sounding more and more remote]
[unintelligible dialogue in the background]
[sound of tripod legs being loosened, shortened and tightened again]
[long pause, constant hum in the background]
[sound of camera shutter, long exposure]
[sound of camera shutter, slightly longer exposure]
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
‘Well, ehm, she is anxious about, ehm, well, to fill the ground of the memorial park, many hills have their soil scratched down. To be used as… well, to fill in the ground. So, she says, we are causing a kind of manmade natural disaster. She doesn’t… she is anxious about that. The hills are being scratched down.’
[…]
‘Whenever I go near the mountain, the mountain has changed its appearance,’ she adds.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
The air watchtowers of the Korps Luchtwacht Dienst, a network of 276 watchtowers built across the Netherlands in the 1950s and 1960s, were conceived to spot Soviet aircrafts.
Approximately half of these towers were built of prefabricated concrete elements of which barely twenty remain. Most towers were demolished. Some are partly reused as woodshed, toolshed or dovecot. The remaining constructions are often deliberately surrounded by and concealed from view by trees in an attempt to conserve them.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
The plot of land where the Authenticity was scrapped can be seen from the adjacent Mount Egaleo that separates Athens from Aspropyrgos.
At sunset the hill’s shadow slowly envelops Athens.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
– ‘I witnessed the fire from the university campus, overlooking the experiment. I had the impression the fire was close to the left windmill.’
– ‘In these hills everything looks close to the windmills.’
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
– [points at the dense edge of birch, elm and oak lining the highway]
– ‘Yes, this forest edge never sleeps.’
– ‘Wouldn’t it be better to change these lights?’
– ‘The advent of alternatives is prompting change,
but apparently at quite a slow rate. It’s funny you’d mention the authentic highway experience, the same is happening in Rome. You heard about this?’
– ‘No.’
– ‘The city decided to start changing the low pressure sodium bulbs for LEDs.’
– ‘Of course.’
– ‘Anyway, by nightfall these new lights went on and immediately flamed a kind of civil uprising. The nightly Rome was no longer recognizable. The romantic hue of the low pressure sodium had been replaced by what was called the cold white light of a sterile laboratory.’
[a woman’s voice: in two kilometres, keep right and take exit]
– ‘PHYTOCHROME!’
– ‘What?’
– ‘That’s the receptor in the trees I was talking about.’
– ‘What happened with the Romans?’
– ‘They started a petition to reverse the decision in order to get the low pressure sodium back in an attempt to restore the authentic nightly Rome. One of their arguments was that they no longer recognized the Colosseum.’
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Approximate position of the Glen Strathallan, a luxury steam yacht, scuttled near the Shagstone in Plymouth Sound to become an artificial reef for scuba diving.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Dear Sir or Madam,
I am a photographer working on a growing encyclopaedia on ships, forests and pacemakers.
Through a series of cross-references, I came across the story about the logs your company delivered to Ishinomaki, Japan, for the reconstruction of the masts of the Sant Juan Bautista.
Is it possible to put me in touch with someone who was involved in this operation? Another source (T.F.) told me the logs (four Douglas fir logs and one western red cedar log) came from the Port Alberni region. Can you confirm this?
All the best and thank you in advance,
Michiel De Cleene
___
Hi,
We’re not sure specifically, but they came out of TFL44. The South block that meets with Bamfield is the best chance.
Good luck.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
TFL 44 currently covers over 232,000 ha, approximately five-sixths of which is productive forest land. The major tree species include western hemlock, western red cedar, balsam (amabilis fir), Douglas fir and yellow cedar.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
During a two hour tour, H.V. (head of the science collection) guided us from the library to the observatory and back. Along the way, he touched upon various rarities: one hundred ninety-five volumes of the Encyclopédie Méthodique (according to H.V. the most complete copy left in the world), the severed summit of Mont Blanc (‘Actually de Saussure brought back a triangular piece of rock from just below the snow line near the summit’), an original copy of the publication on the infamous Lügensteine (‘These date back to the time before the hoax was unveiled’)…
In guiding us from room to room, H.V. piled oddity upon curiosity. He showed a particular interest in all things fish-related.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Reference Guide, 019, Gent,30/09/2016-30/10/2016
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Reference Guide, 019, Gent, 30/09/2016-30/10/2016
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Transitory Nature, Three Selected Episodes from Reference Guide, A Growing Encyclopaedia on Ships, Forests and Pacemakers
Design Museum Gent, Museum Of Moving Practice, Gent, 01/09/2017 – 17/09/2017
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Transitory Nature, Three Selected Episodes from Reference Guide, A Growing Encyclopaedia on Ships, Forests and Pacemakers
Design Museum Gent, Museum Of Moving Practice, Gent, 01/09/2017 – 17/09/2017
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Transitory Nature, Three Selected Episodes from Reference Guide, A Growing Encyclopaedia on Ships, Forests and Pacemakers
De Fabriek Museum Of Moving Practice, Eindhoven, 20/10/2017 – 29/10/2017
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Reference Guide, Book launch, Kunsthal Gent, 14/03/2019
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Reference Guide, Book launch, Kunsthal Gent, 14/03/2019
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Reference Guide, Book launch, Kunsthal Gent, 14/03/2019
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Reference Guide, Book launch, Kunsthal Gent, 14/03/2019
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Reference Guide, Book launch, Kunsthal Gent, 14/03/2019
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Reference Guide, Book launch, Kunsthal Gent, 14/03/2019
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Reference Guide, Book launch, Kunsthal Gent, 14/03/2019
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Reference Guide, Fomu, Antwerpen, 25/06/2021 – 12/09/2021
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Reference Guide, Fomu, Antwerpen, 25/06/2021 – 12/09/2021
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Reference Guide, Fomu, Antwerpen, 25/06/2021 – 12/09/2021
A growing encyclopaedia on ships, forests and pacemakers.
Reference Guide is a collection of heterogeneous entries ranging from every ship named Authenticity, to plutonium pacemakers, to the effect of sodium light on trees, to the restoration of a 1990’s replica of a 17th century Japanese ship, to Canadian lumber export, to a dislodged mirror in the Large Hadron Collider, etc.
These entries are connected and fuelled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.
- Notes
- *Although the main focus of Reference Guide lies within these moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.
Reference Guide, Fomu, Antwerpen, 25/06/2021 – 12/09/2021
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read morethe-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. The sound of Mount Vesuvius on a January evening, instructions on how to use jumper cables, the packaging of Tabasco pepper sauce…: the-documents.org presents photographs, scans, screenshots, audio- and movie-files and and provides them with a short textual description, explanation, or digression, written by multiple authors. Regularly, new files will be added, and old files will be altered.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read moreF#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read morePerforming The Book (APE), M HKA, Antwerpen, 16/11/2017 – 10/12/2017
F#1-13 is a collection of photographs, sculptures, wind barbs and texts based on a gridded flag that blew for thirty-nine days in Citadel Park, Gent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums.
read morePerforming The Book (APE), M HKA, Antwerpen, 16/11/2017 – 10/12/2017
There are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read moreThere are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read more[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat], part of Dorpelijkheid, Atelier Bouwmeester, Brussel, 15/01/2022 – 26/042022
There are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read more[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat], part of Dorpelijkheid, Atelier Bouwmeester, Brussel, 15/01/2022 – 26/04/2022
There are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read more[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat], part of Dorpelijkheid, Atelier Bouwmeester, Brussel, 15/01/2022 – 26/04/2022
There are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read more[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat], part of Dorpelijkheid, Atelier Bouwmeester, Brussel, 15/01/2022 – 26/04/2022
There are foxes and martens. A highway, canal and railway run through it. There is a milkman and a popinjay mast, a lookout point and a hacienda, a tower crane and an automated warehouse. A nest of German Shepherds is born near the reservoir. The architect parks his car in the grass. At this hour, Café The Bolero is always busy. The bus drives fast; the windows are opened. Under the chestnut trees near the glass containers, a woman walks to the supermarket. A brand new robotic lawnmower bumps against the spire of the basilica. A hot air balloon flies low over the fields. A woman points. An invasive exotic species is rampant in the verges. There is an empty container of Coca Cola on a fence post.
read more[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat], part of Dorpelijkheid, Atelier Bouwmeester, Brussel, 15/01/2022 – 26/04/2022
Towards Civil Dusk is an experimental documentary film on the topic of amateur astronomical observations. Amateur astronomy is a world of stark contradictions. It’s both highly technological and very DIY. It combines advanced scientific knowledge with a direct, romantic appreciation of celestial bodies. It’s a solitary endeavour that nevertheless gives rise to large communities of like-minded souls.
Short filmic observations of public observatories are combined with a soundtrack, a voice, and telescope footage, shot in circumstances not ideal for viewing celestial objects. A story unfolds.
Watch the full film here.
read moreTowards Civil Dusk is an experimental documentary film on the topic of amateur astronomical observations. Amateur astronomy is a world of stark contradictions. It’s both highly technological and very DIY. It combines advanced scientific knowledge with a direct, romantic appreciation of celestial bodies. It’s a solitary endeavour that nevertheless gives rise to large communities of like-minded souls.
Short filmic observations of public observatories are combined with a soundtrack, a voice, and telescope footage, shot in circumstances not ideal for viewing celestial objects. A story unfolds.
Watch the full film here.
read moreTowards Civil Dusk is an experimental documentary film on the topic of amateur astronomical observations. Amateur astronomy is a world of stark contradictions. It’s both highly technological and very DIY. It combines advanced scientific knowledge with a direct, romantic appreciation of celestial bodies. It’s a solitary endeavour that nevertheless gives rise to large communities of like-minded souls.
Short filmic observations of public observatories are combined with a soundtrack, a voice, and telescope footage, shot in circumstances not ideal for viewing celestial objects. A story unfolds.
Watch the full film here.
read moreTowards Civil Dusk is an experimental documentary film on the topic of amateur astronomical observations. Amateur astronomy is a world of stark contradictions. It’s both highly technological and very DIY. It combines advanced scientific knowledge with a direct, romantic appreciation of celestial bodies. It’s a solitary endeavour that nevertheless gives rise to large communities of like-minded souls.
Short filmic observations of public observatories are combined with a soundtrack, a voice, and telescope footage, shot in circumstances not ideal for viewing celestial objects. A story unfolds.
Watch the full film here.
read moreTowards Civil Dusk is an experimental documentary film on the topic of amateur astronomical observations. Amateur astronomy is a world of stark contradictions. It’s both highly technological and very DIY. It combines advanced scientific knowledge with a direct, romantic appreciation of celestial bodies. It’s a solitary endeavour that nevertheless gives rise to large communities of like-minded souls.
Short filmic observations of public observatories are combined with a soundtrack, a voice, and telescope footage, shot in circumstances not ideal for viewing celestial objects. A story unfolds.
Watch the full film here.
read moreTowards Civil Dusk is an experimental documentary film on the topic of amateur astronomical observations. Amateur astronomy is a world of stark contradictions. It’s both highly technological and very DIY. It combines advanced scientific knowledge with a direct, romantic appreciation of celestial bodies. It’s a solitary endeavour that nevertheless gives rise to large communities of like-minded souls.
Short filmic observations of public observatories are combined with a soundtrack, a voice, and telescope footage, shot in circumstances not ideal for viewing celestial objects. A story unfolds.
Watch the full film here.
read moreTowards Civil Dusk is an experimental documentary film on the topic of amateur astronomical observations. Amateur astronomy is a world of stark contradictions. It’s both highly technological and very DIY. It combines advanced scientific knowledge with a direct, romantic appreciation of celestial bodies. It’s a solitary endeavour that nevertheless gives rise to large communities of like-minded souls.
Short filmic observations of public observatories are combined with a soundtrack, a voice, and telescope footage, shot in circumstances not ideal for viewing celestial objects. A story unfolds.
Watch the full film here.
read moreTowards Civil Dusk is an experimental documentary film on the topic of amateur astronomical observations. Amateur astronomy is a world of stark contradictions. It’s both highly technological and very DIY. It combines advanced scientific knowledge with a direct, romantic appreciation of celestial bodies. It’s a solitary endeavour that nevertheless gives rise to large communities of like-minded souls.
Short filmic observations of public observatories are combined with a soundtrack, a voice, and telescope footage, shot in circumstances not ideal for viewing celestial objects. A story unfolds.
Watch the full film here.
read moreTowards Civil Dusk is an experimental documentary film on the topic of amateur astronomical observations. Amateur astronomy is a world of stark contradictions. It’s both highly technological and very DIY. It combines advanced scientific knowledge with a direct, romantic appreciation of celestial bodies. It’s a solitary endeavour that nevertheless gives rise to large communities of like-minded souls.
Short filmic observations of public observatories are combined with a soundtrack, a voice, and telescope footage, shot in circumstances not ideal for viewing celestial objects. A story unfolds.
Watch the full film here.
read moreTowards Civil Dusk is an experimental documentary film on the topic of amateur astronomical observations. Amateur astronomy is a world of stark contradictions. It’s both highly technological and very DIY. It combines advanced scientific knowledge with a direct, romantic appreciation of celestial bodies. It’s a solitary endeavour that nevertheless gives rise to large communities of like-minded souls.
Short filmic observations of public observatories are combined with a soundtrack, a voice, and telescope footage, shot in circumstances not ideal for viewing celestial objects. A story unfolds.
Watch the full film here.
read moreTowards Civil Dusk is an experimental documentary film on the topic of amateur astronomical observations. Amateur astronomy is a world of stark contradictions. It’s both highly technological and very DIY. It combines advanced scientific knowledge with a direct, romantic appreciation of celestial bodies. It’s a solitary endeavour that nevertheless gives rise to large communities of like-minded souls.
Short filmic observations of public observatories are combined with a soundtrack, a voice, and telescope footage, shot in circumstances not ideal for viewing celestial objects. A story unfolds.
Watch the full film here.
read moreTowards Civil Dusk is an experimental documentary film on the topic of amateur astronomical observations. Amateur astronomy is a world of stark contradictions. It’s both highly technological and very DIY. It combines advanced scientific knowledge with a direct, romantic appreciation of celestial bodies. It’s a solitary endeavour that nevertheless gives rise to large communities of like-minded souls.
Short filmic observations of public observatories are combined with a soundtrack, a voice, and telescope footage, shot in circumstances not ideal for viewing celestial objects. A story unfolds.
Watch the full film here.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read more-scope (suffix used to form terms denoting an instrument used for viewing) addresses tourist viewpoints as a multiple intervention in the landscape: in addition to an architectural intervention these structures also condition the view at the landscape.
read moreIn four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
In four chapters European Neighbouring looks at man-made, physical borders within the context of present-day Europe and the European Union’s policy on borders and migration: the wall around the Jewish ghetto in Warsaw, Hadrians wall in Northern England, the Peacelines in Belfast and the wall around Melilla, a Spanish exclave in Morocco.
Besides resemblance of form, these spatial boundaries also exhibit similarities from a temporal and functional perspective. Within the course of their historical evolution we see how boundaries are built, redrawn and functionally reassigned. They originate in conflict, become obsolete, degenerate, pass through a phase of restoration and become tourist attractions. This series traces the different (functional) phases in this chronology.
- –In: REDELE, M., Like Dust Before it Falls, Building Fictions, Amsterdam, 2022
- –Al Naseej Textile Factory in Bani Jamra, Bahrain is a project by Leopold Banchini Architects
See also
- –In: REDELE, M., Like Dust Before it Falls, Building Fictions, Amsterdam, 2022
- –Al Naseej Textile Factory in Bani Jamra, Bahrain is a project by Leopold Banchini Architects
- –In: REDELE, M., Like Dust Before it Falls, Building Fictions, Amsterdam, 2022
- –Al Naseej Textile Factory in Bani Jamra, Bahrain is a project by Leopold Banchini Architects
See also
- –In: REDELE, M., Like Dust Before it Falls, Building Fictions, Amsterdam, 2022
- –Al Naseej Textile Factory in Bani Jamra, Bahrain is a project by Leopold Banchini Architects
- –A project by murmuur, Robbrecht en Daem architecten & Callebaut architecten
- –A project by murmuur, Robbrecht en Daem architecten & Callebaut architecten
- –A project by murmuur, Robbrecht en Daem architecten & Callebaut architecten
- –A project by murmuur, Robbrecht en Daem architecten & Callebaut architecten
- –A project by murmuur, Robbrecht en Daem architecten & Callebaut architecten
- –A project by murmuur, Robbrecht en Daem architecten & Callebaut architecten
- –In: GRAFE, C, DECROOS, B. (eds.), Linkeroever. Sprong over de Schelde, Vlaams Architectuurinstituut, Antwerpen, 2017
- –In: GRAFE, C, DECROOS, B. (eds.), Linkeroever. Sprong over de Schelde, Vlaams Architectuurinstituut, Antwerpen, 2017
- –In: GRAFE, C, DECROOS, B. (eds.), Linkeroever. Sprong over de Schelde, Vlaams Architectuurinstituut, Antwerpen, 2017
- –In: GRAFE, C, DECROOS, B. (eds.), Linkeroever. Sprong over de Schelde, Vlaams Architectuurinstituut, Antwerpen, 2017
- –In: GRAFE, C, DECROOS, B. (eds.), Linkeroever. Sprong over de Schelde, Vlaams Architectuurinstituut, Antwerpen, 2017
See also
- –In: GRAFE, C, DECROOS, B. (eds.), Linkeroever. Sprong over de Schelde, Vlaams Architectuurinstituut, Antwerpen, 2017
See also
- –In: GRAFE, C, DECROOS, B. (eds.), Linkeroever. Sprong over de Schelde, Vlaams Architectuurinstituut, Antwerpen, 2017
- –In: GRAFE, C, DECROOS, B. (eds.), Linkeroever. Sprong over de Schelde, Vlaams Architectuurinstituut, Antwerpen, 2017
- –In: GRAFE, C, DECROOS, B. (eds.), Linkeroever. Sprong over de Schelde, Vlaams Architectuurinstituut, Antwerpen, 2017
- –‘A Demonstration’ by Sasha Litvintseva & Beny Wagner. Scenography by 51N4E, Chevalier-Masson & Point Supreme.
- –In: DEVOLDERE, S. (ed.), Kijken naar De Blik van Bruegel, Public Space, Mechelen, 2019
- –In: DEVOLDERE, S. (ed.), Kijken naar De Blik van Bruegel, Public Space, Mechelen, 2019
- –In: DEVOLDERE, S. (ed.), Kijken naar De Blik van Bruegel, Public Space, Mechelen, 2019
- –In: DEVOLDERE, S. (ed.), Kijken naar De Blik van Bruegel, Public Space, Mechelen, 2019
- –In: DEVOLDERE, S. (ed.), Kijken naar De Blik van Bruegel, Public Space, Mechelen, 2019
- –A project by murmuur, Carton123 architecten & AE-architecten
- –A project by murmuur, Carton123 architecten & AE-architecten
- –A project by murmuur, Carton123 architecten & AE-architecten
- –A project by murmuur, Carton123 architecten & AE-architecten
- –In: VLAAMS ARCHITECTUURINSTITUUT, Architectuurboek Vlaanderen N°10, Vlaams Architectuurinstituut, Antwerpen, 2012
- –In: VLAAMS ARCHITECTUUR INSTITUUT, Architectuurboek Vlaanderen N°10, Vlaams Architectuurinstituut, Antwerpen, 2012
- –In: VLAAMS ARCHITECTUURINSTITUUT, Architectuurboek Vlaanderen N°10, Vlaams Architectuurinstituut, Antwerpen, 2012
- –In: DE CAIGNY, S. (ed.), Maatwerk – Made to Measure, Vlaams Architectuurinstituut, Antwerpen, 2016
- –In: DE CAIGNY, S. (ed.), Maatwerk – Made to Measure, Vlaams Architectuurinstituut, Antwerpen, 2016
- –In: DE CAIGNY, S. (ed.), Maatwerk – Made to Measure, Vlaams Architectuurinstituut, Antwerpen, 2016
- –In: DE CAIGNY, S. (ed.), Maatwerk – Made to Measure, Vlaams Architectuurinstituut, Antwerpen, 2016
- –In: DE CAIGNY, S. (ed.), Maatwerk – Made to Measure, Vlaams Architectuurinstituut, Antwerpen, 2016
- –In: DE CAIGNY, S. (ed.), Maatwerk – Made to Measure, Vlaams Architectuurinstituut, Antwerpen, 2016
- –In: DE CAIGNY, S. (ed.), Maatwerk – Made to Measure, Vlaams Architectuurinstituut, Antwerpen, 2016
- –In: DE CAIGNY, S. (ed.), Maatwerk – Made to Measure, Vlaams Architectuurinstituut, Antwerpen, 2016
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be
- –Recollecting Landscapes is a rephotographic project gathering photographs made in 1904-1911 (Jean Massart), in 1980 (Georges Charlier), in 2004 (Jan Kempenaers) and in 2014 (Michiel De Cleene). A next series is being made in 2022-2023 (Rembert De Prez).
- –In: NOTTEBOOM, B., UYTTENHOVE, P., Recollecting Landscapes. Rephotography, Memory and Transformation 1904-1980-2004-1980, Roma Publications, Amsterdam, 2014
- –www.recollectinglandscapes.be