If cross-sections of a spherical surface and a parabolic surface were made by slicing each surface in half, these would be the shapes you would see:
I've been wanting to make a parabolic reflector for quite some time now.
Genderchangers: Remote Intimacy
Friday, November 12, 9:00-13:00 and Sunday, November 14, 9:00-17:00
Kasia Krakowiak & Ronen Eidelman: Radio all.FM
Radio Hacking, Space Liberating
Monday, November 15, 10:00-16:00 and Tuesday, November 16, 10:00-13:00
Frank Barknecht: Introduction to Pure DataWednesday and Thursday, November 17-18, 9:00-17:00
MazaJ (meaning mood in Arabic) is a place of free expression, of attunement that presents sonic experimentation from the Middle East and its diaspora.
The first edition of the MazaJ Festival is a celebration of contemporary and experimental Arabic music and Middle Eastern sonic culture, taking place in London. Curated by artist Seth Ayyaz, MazaJ encourages audiences to look beyond the ‘world music’ label by stripping bare the stereotypes of ‘Arabic’ or ‘Middle Eastern’ music. Forging links between UK and Middle Eastern artists and audiences, the festival takes the form of a one-day conference and concert at City University, followed by a weekend of talks and performances at Café Oto.
Here are some very professionaly made intonarumori by Wexel:
|Tuesday 09 March 2010||10PM||More4|
Now showing in the True Stories strand, Content is described by Petit as, "an ambient 21st century road movie", a meditative essay inspired by the almost trancelike state the act of driving can bring
With the narrative provided by Hanns Zischler, the film is variously about memories of other journeys from Texas through to Poland, the impact of modern technology and the rise of the huge impersonal factory sheds which now line roads throughout the world.
|Tuesday 17 November 2009||10PM||More4|
The Oscar-nominated Which Way Home follows unaccompanied child migrants as they journey through Mexico on a freight train they call 'The Beast', hoping to reach the USA
Rebecca Cammisa's film tracks the stories of children like Olga and Freddy, nine-year-old Hondurans who are desperately trying to reach their families in Minnesota; Jose, a ten-year-old El Salvadoran who has been abandoned by smugglers and ends up alone in a Mexican detention centre; and Kevin, a canny, streetwise 14-year-old Honduran, whose mother hopes that he will reach New York City and send money back to his family.
These are stories of hope and courage, disappointment and sorrow. They are the stories most people never hear about: the invisible ones.
To grasp what he’s getting at here, one needs to appreciate Landy’s long-standing love affair with the Swiss Dadaist/performance artist, Jean Tinguely, who died in 1991. In 1982, Landy caught a Tinguely retrospective at Tate and the anarchic energy of the show, coupled with the joyous response of the audience, made a deep impression on his teenage mind. “There were machines you could ride or throw balls into; there were others where, if you put your foot on a pedal, they did a manic dance,” he explains. “They were all made out of junk, so aesthetically they were quite ugly-looking, but I was a textile student, collecting and making patterns out of junk. It was a revelation.”