Designed as an augmented reality and spatial audio work downloadable as an app for mobile devices, it is both a site specific public artwork and a digital archive of these species, using tools and platforms from a range of fields including video games, computer generated images and film. Inspired by ecological science-fiction and scientific research, Kudsk Steensen creates a form of ‘slow media’ that uses the technological to foster attention rather than distraction.
...a journey to both see and hear five of London’s species: London plane trees, bats, parakeets, azure blue damselflies and reedbeds.
Kudsk Steensen has collaborated with the field recordist and sound designer Matt McCorkle to represent five species as sound. The audio and visuals within the project are drawn directly from organic source material gathered from a period of embedded research within Kensington Gardens and Hyde Park. These organic materials are then transformed through digital processes to be re-embedded within the same context.
Download brochure: https://www.serpentinegalleries.org/files/press-releases/the_deep_listener_tdl_a5_digital_v2_final.pdf
From CityLab.com online article:
Compared to the toylike, rule-flouting, sidewalk-cluttering kick-scooters, proper motor scooters also promise to be a more regulated—and officially legitimized—form of urban transportation. “It rides and parks in the street and flows through traffic, completely off sidewalks,” says Frank Reig, CEO of Revel. “You’re part of the traffic lane and have a license plate.”
To get started, the company requires a scan of your license, accompanied by an in-app selfie, to go through a $19 background check approval. What you don’t need is a motorcycle license, or any prior experience piloting these kinds of vehicles. And that could prove to be a challenge for some.
The electric mopeds that Revel uses in D.C. are made by the Chinese company NIU; they sell about $3,000 to $5,000 if you want your own, and they are similar in price and capabilities to their gas-powered Vespa cousins. They have a range of about 60 miles and can go about 30 miles per hour—fast enough to keep up with traffic in the city.
To read more: https://www.citylab.com/transportation/2019/09/revel-electric-scooter-rental-review-moped-safety-tips-app/597367/?utm_campaign=citylab-daily-newsletter&utm_medium=email&silverid=%25%25RECIPIENT_ID%25%25&utm_source=newsletter
From a Jetsetter.com online review:
Despite the overwhelming presence of boutique inns along the Atlantic, they’re not a strictly East Coast commodity. Case in point: Sonoma’s Farmhouse Inn.
The 25-room property, located just 30 minutes from Calistoga and Napa Valley, attracts visitors from near and far with guest rooms done up in homey, (you guessed it) farmstead-style decor (think: plaid throws and rustic tree limb end tables, all adhering to a neutral palette of white, beige, and brown), brightened up by bouquets of fresh seasonal flowers. Beyond its aesthetically-pleasing interiors, the inn also knows a thing or two about food—starting with a nightly turndown service that includes homemade cookies and milk, and ending with the Farmhouse Restaurant, an onsite Michelin-starred, farm-to-table dining experience with killer dishes like peach salad, chanterelle tortellini, and wild Alaskan halibut.
To read more: https://www.jetsetter.com/magazine/the-coziest-inns-ever/?
From a Smithsonian Magazine online review:
At first glance, Stephen Wilkes’ photographs look like a single moment in time. It is only upon closer inspection that viewers discover that each of his works is actually the result of shooting thousands of photographs from a stationary position over the course of a day and stitching them together digitally to create one cohesive panorama. The painstaking task of editing all of this information and whittling it down into one image can take months to complete, but the results capture a sense of place that can’t be expressed by a single frame alone.
Wilkes expands on this concept in his new book, Day to Night, which features panoramas of iconic places like New York’s Coney Island, Moscow’s Red Square and Arizona’s Grand Canyon seen over the course of a day. Time-lapse photos these are not, as Wilkes carefully selects the exact frames he’ll compile into the final image. (The book release coincides with “A Witness to Change,” a photographic exhibition to be held at Bryce Wolkowitz Gallery in New York City beginning September 12.)
Read more: https://www.smithsonianmag.com/travel/how-photographer-stephen-wilkes-captures-full-day-single-image-180972935/#6RZ7EF0BklRrTGAP.99
From a Smithsonian Magazine online article:
Though his paintings and sculptures sell all over the world for fabulous prices, he has not enriched himself. He lives simply, with his wife, Trine Ellitsgaard Lopez, an accomplished weaver, in a traditional house in the middle of Oaxaca, and has used his considerable profits to found art centers and museums, an ethnobotanical garden and at least three libraries.
Toledo, whose origins were obscure and inauspicious, was the son of a leatherworker—shoemaker and tanner. He was born in Mexico City, but the family soon after moved to their ancestral village near Juchitán de Zaragoza in the Isthmus of Tehuantepec, nearer to Guatemala than to Mexico City—and being ethnically Zapotec, nearer culturally to the ancient pieties of the hinterland too.
His paintings became sought after for their singular beauty. His work resisted all classification and fashion. He was not attached to any movement, even when the art world was turbulent with abstraction and Minimalism and Color Field and Op Art. He elaborated his ancestral visions of masks and folk tales, haunted and highly colored landscapes, and eroticism that was both comic and gothic. “He intuits the timelessness of authenticity,” the Guatemalan art critic Luis Cardoza y Aragón wrote. In 1967, an enthusiastic Henry Miller—himself a watercolorist—wrote the text for a Toledo exhibition.
Read more: https://www.smithsonianmag.com/arts-culture/what-makes-francisco-toledo-180972172/#OPyozLi0YzWgWjf4.99