Michiel De Cleene
Michiel De Cleene,                              , Amidst the fire, I am not burnt Capital Compression The Situation As It Is Reference Guide the-documents.org F#1-13 [hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] -scope Assignments                              ,                              ,                              ,                              ,           , random / all / about
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
In April 1872, Vesuvius erupted in a violent cataclysm. It is considered to be the first volcanic eruption ever photographed. Amidst the fire, I am not burnt is a documentary approach of the iconic landscape shaped by Vesuvius. read more

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 more
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. read more

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 more
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. read more

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 more
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. read more

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 more
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. read more

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 more
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. read more

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 more
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. read more

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 more
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. read more

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 more
See also
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. read more

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 more
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. read more

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 more
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. read more

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 more
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. read more

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 more
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
See also
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
Ring 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. read more

Ring 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 more
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

[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]

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

‘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.’

  • *Nanaimo Bay, bulk carrier, IMO: 9749831, MMSI: 477692500, Call Sign: VRQF5, Flag: Hong Kong, Built: 2016, Gross Tonnage: 21538

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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.

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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.

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

[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]

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

[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.’

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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.’

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

– ‘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]

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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.

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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. 

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

[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.’

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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.

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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.

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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.

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

[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]

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

‘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.

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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.

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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.

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

– ‘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.’

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

– [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.’

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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.

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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.

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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.

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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.

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more
See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

Reference Guide, 019, Gent,30/09/2016-30/10/2016

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

Reference Guide, 019, Gent, 30/09/2016-30/10/2016

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

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

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

Reference Guide, Book launch, Kunsthal Gent, 14/03/2019

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

Reference Guide, Book launch, Kunsthal Gent, 14/03/2019

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

Reference Guide, Book launch, Kunsthal Gent, 14/03/2019

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

Reference Guide, Book launch, Kunsthal Gent, 14/03/2019

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

Reference Guide, Book launch, Kunsthal Gent, 14/03/2019

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

Reference Guide, Book launch, Kunsthal Gent, 14/03/2019

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

Reference Guide, Book launch, Kunsthal Gent, 14/03/2019

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

Reference Guide, Fomu, Antwerpen, 25/06/2021 – 12/09/2021

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

Reference Guide, Fomu, Antwerpen, 25/06/2021 – 12/09/2021

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

Reference Guide, Fomu, Antwerpen, 25/06/2021 – 12/09/2021

See also
Reference Guide is a growing encyclopaedia on ships, forests and pacemakers. read more

A growing encyclopaedia on ships, forests and pacemakers.

Reference Guide is a collection of entries, 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.
read more

Reference Guide, Fomu, Antwerpen, 25/06/2021 – 12/09/2021

See also
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
See also
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
See also
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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.

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See also
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
See also
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
See also
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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 more
the-documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents. read more

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.

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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). read more

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 more
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). read more

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 more
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). read more

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 more
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). read more

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 more
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). read more

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 more
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). read more

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 more
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). read more

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 more
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). read more

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 more
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). read more

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 more
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). read more

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 more
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). read more

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 more
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). read more

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 more
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). read more

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 more
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). read more

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 more
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). read more

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 more
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). read more

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.

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Performing The Book (APE), M HKA, Antwerpen, 16/11/2017 – 10/12/2017

See also
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). read more

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 more

Performing The Book (APE), M HKA, Antwerpen, 16/11/2017 – 10/12/2017

[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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.

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See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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
See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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 – 26/042022

See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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

See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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

See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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

See also
[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. read more

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

See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
See also
-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
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

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

  • 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

See also
See also
See also
See also
  • 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

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

  • 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

See also
See also
See also
  • ‘A Demonstration’ by Sasha Litvintseva & Beny Wagner. Scenography by 51N4E, Chevalier-Masson & Point Supreme.

See also
See also
  • 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

See also
See also
See also
See also
See also
  • 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

Amidst the fire, I am not burnt interweaves documentary writing and photography in a constellation of subjects ranging from the historic and present-day observatories, breadcrust bombs, a parking lot inside the mountain, Neapolitan outskirts, superstitious residents, derelict quarries, antennas, chunks of volcanic rock, souvenirs, a muon detector, marble plaques, twelve students who perished near the crater, vegetation, archaeological sites, government workers standing around a bonfire, and lovers parked along the nightly road leading up the volcano. As each eruption adds a layer on top of the last, Vesuvius senses, stores, destroys, shapes and transmits information.

  • Roma Publications 462, designed by Roger Willems and De Cleene De Cleene, printed by Wilco Art Books, ISBN 9789464460520, 162 pages, 24 cm x 30,5 cm, softcover.
  • Amidst the fire, I am not burnt is part of Documenting Objects, a research project at KASK & Conservatorium, School of Arts Gent.

A poem, consisting of nineteen lines, deals with blockchain technology as a means of documentation. It appropriates the vocabulary used to describe the technology and experiments with discursive and rhetorical techniques for establishing authenticity.

The poem employs a system of hashing, analogous to blockchain technology. With every new line, it also encrypts the poem as it is found on the previous page, turning that preceding version into a 64-digit line of code by using the SHA-256 algorithm. The history, progression and sequence of the poem thus become immutable. The 64 digits on the last page can be considered an unfalsifiable and complete poetic document.

The sequence of twenty photographs was taken near Seef, Bahrain on the artificial Nurana Islands.

  • Roma Publications 446, designed by Tjobo Kho, printed by Zwaan Lenoir, ISBN 978-94-6446-039-1, 20+12 pages, 16 cm x 23cm, softcover in silkscreened pvc cover.
  • Capital Compression is part of Documenting Objects, a research project at KASK & Conservatorium, School of Arts Gent.
  • Capital Compression was made possible with the support of the Flemish Community.
  • www.decleenedecleene.be

Documenting the existing condition (de bestaande toestand) is a functional tool in architecture and urban development: photographs describe a building, a landscape, infrastructure…. in order for it to be demolished, adjusted, rebuilt. The existence of the image, the document that presents the situation as it is, implies and initiates change.

The Situation As It Is is a story that unfolded in episodes of three frames, rhythmically revolving on a billboard mounted onto 019’s facade. In 2022 it appeared as a book.

  • Art Paper Editions 201, Designed by Haron Barashed/019, Printed by Graphius, ISBN 9789493146983, 18,5 x 29,7cm, 128 p, softcover.
  • The Situation As It Is is part of Documenting Objects, a research project at KASK & Conservatorium, School of Arts Gent.
  • www.decleenedecleene.be

Reference Guide allows each reader to construct his or her own path through the different entries. This movement is similar to the one you might make within l’Encyclopédie, The Winkler Prins, the Encyclopaedia Britannica, Wikipedia, etc.; a movement that might take you from the entry on the aorta**, to the heart***, to surgeon****, to scalpel*****, to knife******, to axe*******, to forestry******** only to end up at silver birch********* or – with a different turn somewhere along the way – at windmill**********, oil painting***********, carbon monoxide************, the moon************* or keel**************. The only thing connecting the AORTA and the SILVER BIRCH is the reader’s trajectory within the encyclopaedic context.

The DIN A4-pages in this book are a uniform way of presenting the heterogeneous material this project consists of. The collection incorporates modified carousel projectors, two pacemakers taking each other for a heart, transcripts, framed pictures, manuals, short films, a giant billboard, recordings, altered batteries, a collection of low pressure sodium lamps, a carpet, a pronouncing dictionary, postcards, eighty pigeon rings on a rope, seven scale-models of a Himalayan mountain, etc.

This book (Roma Publication 345, 2019, ISBN: 9789492811400) is the reference guide to this collection: for each entry, it gathers both the DIN A4-page(s) and – in the margins – the provisional set of cross-references (at the time of printing***************).

An updated version of this reference guide accompanies every iteration of the collection, whether it manifests itself as an exhibition, an archive, a lecture, a website, a guided tour, etc.

  • **Aorta DIDEROT, D., ALEMBERT, J. (eds.), Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers par une société des gens de lettres, Marc Michel Rey, Amsterdam, 1780, Tome 1, p. 520 (Aorte) RÖST, L.C.M., Grote Winkler Prins, Encyclopedie in 26 delen (negende druk), Elsevier, Amsterdam, Antwerpen, 1990, Deel 2, p. 278 (Aorta) Encyclopaedia Britannica, inc. The New Encyclopaedia Britannica. 15th ed., [1998 rev.], Encyclopaedia Britannica, Chicago, 1998, Volume 1, p. 474 (Aorta) ‘Aorta’, Wikipedia, viewed 15.11.2018, <https://en.wikipedia.org/wiki/Aorta>
  • ***Heart DIDEROT, D., ALEMBERT, J. (eds.), Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers par une société des gens de lettres, Marc Michel Rey, Amsterdam, 1780, Tome 3, p. 592-602 (Cœur) RÖST, L.C.M., Grote Winkler Prins, Encyclopedie in 26 delen (negende druk), Elsevier, Amsterdam, Antwerpen, 1991, Deel 11, p. 82-85 (Hart) Encyclopaedia Britannica, inc. The New Encyclopaedia Britannica. 15th ed., [1998 rev.], Encyclopaedia Britannica, Chicago, 1998, Volume 5, p. 782-783 (Heart) ‘Heart’, Wikipedia, viewed 15.11.2018, <https://en.wikipedia.org/wiki/Heart>
  • ****Surgeon DIDEROT, D., ALEMBERT, J. (eds.), Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers par une société des gens de lettres, Marc Michel Rey, Amsterdam, 1780, Tome 3, p. 355-357 (Chirurgien) RÖST, L.C.M., Grote Winkler Prins, Encyclopedie in 26 delen (negende druk), Elsevier, Amsterdam, Antwerpen, 1991, Deel 6, p. 182-183 (Chirurgie) Encyclopaedia Britannica, inc. The New Encyclopaedia Britannica. 15th ed., [1998 rev.], Encyclopaedia Britannica, Chicago, 1998, Volume 11, p. 408 (Surgery) ‘Surgeon’, Wikipedia, viewed 15.11.2018, <https://en.wikipedia.org/wiki/Surgeon>
  • *****Scalpel DIDEROT, D., ALEMBERT, J. (eds.), Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers par une société des gens de lettres, Marc Michel Rey, Amsterdam, 1780, Tome 14, p. 738 (Scalpel) No mention of ‘scalpel’ in RÖST, L.C.M., Grote Winkler Prins, Encyclopedie in 26 delen (negende druk), Elsevier, Amsterdam, Antwerpen, 1993 No mention of ‘scalpel’ in Encyclopaedia Britannica, inc. The New Encyclopaedia Britannica. 15th ed., [1998 rev.], Encyclopaedia Britannica, Chicago, 1998 ‘Scalpel’, Wikipedia, viewed 15.11.2018, <https://en.wikipedia.org/wiki/Scalpel>
  • ******Knife DIDEROT, D., ALEMBERT, J. (eds.), Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers par une société des gens de lettres, Marc Michel Rey, Amsterdam, 1780, Tome 4, p. 405-409 (Couteau) RÖST, L.C.M., Grote Winkler Prins, Encyclopedie in 26 delen (negende druk), Elsevier, Amsterdam, Antwerpen, 1992, Deel 15, p. 608 (Mes) Encyclopaedia Britannica, inc. The New Encyclopaedia Britannica. 15th ed., [1998 rev.], Encyclopaedia Britannica, Chicago, 1998, Volume 6 p. 914 (Knife) ‘Knife’, Wikipedia, viewed 15.11.2018, <https://en.wikipedia.org/wiki/Knife>
  • *******Axe DIDEROT, D., ALEMBERT, J. (eds.), Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers par une société des gens de lettres, Marc Michel Rey, Amsterdam, 1780, Tome 8, p. 18-19 (Hache) No mention of ‘bijl’ in RÖST, L.C.M., Grote Winkler Prins, Encyclopedie in 26 delen (negende druk), Elsevier, Amsterdam, Antwerpen, 1993 Encyclopaedia Britannica, inc. The New Encyclopaedia Britannica. 15th ed., [1998 rev.], Encyclopaedia Britannica, Chicago, 1998, Volume 3, p. 367 (Cleaver) ‘Axe’, Wikipedia, viewed 15.11.2018, <https://en.wikipedia.org/wiki/Axe>
  • ********Forestry DIDEROT, D., ALEMBERT, J. (eds.), Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers par une société des gens de lettres, Marc Michel Rey, Amsterdam, 1780, Tome 7, p. 128 (Forestier) RÖST, L.C.M., Grote Winkler Prins, Encyclopedie in 26 delen (negende druk), Elsevier, Amsterdam, Antwerpen, 1990, Deel 4, p. 582 (Boswachterij) Encyclopaedia Britannica, inc. The New Encyclopaedia Britannica. 15th ed., [1998 rev.], Encyclopaedia Britannica, Chicago, 1998, Volume 4, p. 880-881 (Forestry) ‘Forestry’, Wikipedia, viewed 15.11.2018, <https://en.wikipedia.org/wiki/Forestry>
  • *********Silver birch DIDEROT, D., ALEMBERT, J. (eds.), Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers par une société des gens de lettres, Marc Michel Rey, Amsterdam, 1780, Tome 2, p. 362 (Bouleau) (no mention of ‘Bouleau argenté’) RÖST, L.C.M., Grote Winkler Prins, Encyclopedie in 26 delen (negende druk), Elsevier, Amsterdam, Antwerpen, 1990, Deel 4, p. 82-83 (Berkenfamilie) Encyclopaedia Britannica, inc. The New Encyclopaedia Britannica. 15th ed., [1998 rev.], Encyclopaedia Britannica, Chicago, 1998, Volume 2, p. 229 (Birch) ‘Betula Pendula’, Wikipedia, viewed 15.11.2018, <https://en.wikipedia.org/wiki/Betula_pendula>
  • **********Windmill DIDEROT, D., ALEMBERT, J. (eds.), Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers par une société des gens de lettres, Marc Michel Rey, Amsterdam, 1780, Tome 10, p. 811-812 (Moulin à vent) RÖST, L.C.M., Grote Winkler Prins, Encyclopedie in 26 delen (negende druk), Elsevier, Amsterdam, Antwerpen, 1993, Deel 25, p. 8-13 (Windmolen) Encyclopaedia Britannica, inc. The New Encyclopaedia Britannica. 15th ed., [1998 rev.], Encyclopaedia Britannica, Chicago, 1998, Volume 12, p. 698-699 (Windmill) ‘Windmill’, Wikipedia, viewed 15.11.2018, <https://en.wikipedia.org/wiki/Windmill>
  • ***********Oil painting DIDEROT, D., ALEMBERT, J. (eds.), Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers par une société des gens de lettres, Marc Michel Rey, Amsterdam, 1780, Tome 12, p. 277-278 (Peinture à huile) RÖST, L.C.M., Grote Winkler Prins, Encyclopedie in 26 delen (negende druk), Elsevier, Amsterdam, Antwerpen, 1992, Deel 17, p. 397 (Olieverf) Encyclopaedia Britannica, inc. The New Encyclopaedia Britannica. 15th ed., [1998 rev.], Encyclopaedia Britannica, Chicago, 1998, Volume 25, p. 327-328 (The Art of Painting, Mediums, Oil) ‘Oil painting’, Wikipedia, viewed 15.11.2018, <https://en.wikipedia.org/wiki/Oil_painting>
  • ************Carbon monoxide No mention of ‘Monoxyde de carbon’ in DIDEROT, D., ALEMBERT, J. (eds.), Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers par une société des gens de lettres, Marc Michel Rey, Amsterdam, 1780 RÖST, L.C.M., Grote Winkler Prins, Encyclopedie in 26 delen (negende druk), Elsevier, Amsterdam, Antwerpen, 1991, Deel 13, p. 527 (Koolmonoxide) Encyclopaedia Britannica, inc. The New Encyclopaedia Britannica. 15th ed., [1998 rev.], Encyclopaedia Britannica, Chicago, 1998, Volume 2, p. 851 (Carbon Monoxide) ‘Carbon monoxide’, Wikipedia, viewed 15.11.2018, <https://en.wikipedia.org/wiki/Carbon_monoxide>
  • *************Moon DIDEROT, D., ALEMBERT, J. (eds.), Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers par une société des gens de lettres, Marc Michel Rey, Amsterdam, 1780, Tome 9, p. 726-742 (Lune) RÖST, L.C.M., Grote Winkler Prins, Encyclopedie in 26 delen (negende druk), Elsevier, Amsterdam, Antwerpen, 1992, Deel 15, p. 123-129 (Maan) Encyclopaedia Britannica, inc. The New Encyclopaedia Britannica. 15th ed., [1998 rev.], Encyclopaedia Britannica, Chicago, 1998, Volume 8, p. 299 (Moon) ‘Moon’, Wikipedia, viewed 15.11.2018, <https://en.wikipedia.org/wiki/Moon>
  • **************Keel DIDEROT, D., ALEMBERT, J. (eds.), Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers par une société des gens de lettres, Marc Michel Rey, Amsterdam, 1780, Tome 13, p. 711-713 (Quille) RÖST, L.C.M., Grote Winkler Prins, Encyclopedie in 26 delen (negende druk), Elsevier, Amsterdam, Antwerpen, 1991, Deel 13, p. 328 (Kiel) Encyclopaedia Britannica, inc. The New Encyclopaedia Britannica. 15th ed., [1998 rev.], Encyclopaedia Britannica, Chicago, 1998, Volume 6, p. 782 (Keel) ‘Keel’, Wikipedia, viewed 15.11.2018, <https://en.wikipedia.org/wiki/Keel>
  • ***************Each copy of Reference Guide is a paused record in the midst of an unrelenting cross-referential expansion.
  • Roma Publications 345, designed by We Became Aware/019 and Michiel De Cleene, printed by die Keure, ISBN 9789492811400, 24,5 cm x 30 cm, softcover.
  • Reference Guide is part of the eponymous research project at KASK & conservatorium, Gent and was financed by the HOGENT Arts Research Fund.

In Paper Knowledge, Lisa Gitelman paraphrases ‘documentalist’ Suzanne Briet, stating that ‘an antelope running wild would not be a document, but an antelope taken into a zoo would be one, presumably because it would then be framed – or reframed – as an example, specimen, or instance’. The files gathered on this website are all documents – if they weren’t before publication, they now are. That is what this website, irreversibly, does. It is a zoo turning an antelope into an ‘antelope’.

the- documents.org tracks the entries viewed during each visit. It documents each path through the website. As such, the time spent on the-documents.org turn into a new document. It can be downloaded as a pdf or ordered as a book.

The flag and windsensor were mounted at De Mastplanters (Gent, Belgium), Design Museum (Gent, Belgium) and Horst Festival (Horst, Belgium). The folded flag was presented at De Fabriek (Eindhoven, The Netherlands), the sculptures and film at MHKA (Antwerp, Belgium).

  • Art Paper Editions 87, designed by 6′56″, printed by Graphius, ISBN 9789490800673, 64p, 25 x 30,7 cm, softcover
  • F#1-13 was made with the kind support of the Cultural Department of the City of Ghent, KASK & Conservatorium, Gent and Smoke & Dust/019. It was presented at Design Museum Ghent as a part of The Museum of Moving Practice, while the flag was mounted on the museum’s roof.
  • F#1-13 is part of Reference Guide, a research project at KASK & Conservatorium, School of Arts Gent.
  • www.decleenedecleene.be

[hij zwaait opnieuw naar de vrouw die nog steeds haar hond uitlaat] is a cross-section of a fictitious Flemish village, based on the routes taken by residents and passers-by. Stories and movements from different Flemish villages come together in one place – a cumulative village. The journey of the vet, of the retired woman on her way to the supermarket, of the architect, of the installer of robotic lawnmowers, of a hot air balloon, of the milkman, of the regular on his way to the cafe and of a bus, intersect, cut through and circle around the center, follow the ribbon development, and shape the village while moving.

  • Commissioned by Team Vlaams Bouwmeester as part of an exploratory study into village matters (dorpelijkheid) in Flanders, edited by Arnout De Cleene, short story by Sofie Verraest, designed by Ine Meganck, printed by die Keure, ISBN 9789464516883, 224p, 115x165mm, softcover

The stunning scenery can be viewed from virtually endless different standpoints. However, manbuilt platforms authoritatively limit the landscape and render it apprehensible by directing the tourist’s view. Signposted locations make the tourist feel at ease: from this angle the scenery is at its best, at its most authentic. A field of view and a framework are imposed.

Each photograph is made from the perspective of the landscape, facing the viewpoint. What the tourist sees remains implicit. This approach contrasts with the traditional tourist photographs made at exactly those panoramic points laden with the promise of revealing the landscape in the best possible way. In -scope this ideal view lies outside the range of the picture.

  • Made with the support of Museumcultuur Strombeek/Gent, designed by Ine Meganck, printed by Stevens, Leporello, 28p, 180x297mm (closed), 2520x297mm (opened).