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It's time for a change. Too often we begin a new project, quickly realizing we need help. We live a world where everybody is constantly connected. Lets use that to our advantage, learning from each other, improving the way we work. Shouldn't there be a single platform that connects all your questions with the people that have the answers? A place that allows you to work seamlessly between projects, whether they be to better your business or improve your personal life. It's time to make your life easier and more productive by combining the BEST tools you'd need to complete nearly any project...from planning a wedding, to buying a home, to managing a project at work...it's time for Worksfire!+ More details
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Blessed Unrest and Teatri ODA's acclaimed co-production of "Doruntine" comes to New York this spring. To purchase tickets visit http://blessedunrest.org/ To make a tax-deductible donation in support of this project visit http://blessedunrest.org/donate.html+ More details
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How do we know soil? This point, 16.039013 degrees Latitude South 128.405413 degrees Longitude East, in the Southern Kimberley Ranges Soil Province, is called Quadrat. A handful of soil is scooped into the hand in an attempt to ‘know’ one small place. The videos alludes to the difference between field experiences and the laboratory. It gives a field measure which is an immediate knowing. But this information is distinct from what is measured in the laboratory: The manual intones: “these percentages [of different particle sizes] must not be used to determine a field texture, that is, do not use them to convert a laboratory particle size value to a field texture grade. Similarly do not adjust a field texture grade when laboratory particle size data becomes available.” Conceived as a two channel video installation, this work is in response to my collaborative partner, soil scientist and mapper Raphael Viscarra-Rossel. Viscarra-Rossel is an expert in Proximal Soil Sensing (PSS) and digital soil mapping. Modern soil mapping utilise structured sampling regimes rather than ad hoc processes and amateur efforts. Sophisticated proximal soil sensors, advanced laboratory techniques and computer modelling are used to combat the impossibility of knowing every corner of the earth. How do we account for the folly of scale? Soil mapping necessarily relies on interpolating the spaces in between: sophisticated statistical techniques are used to predict a value at a given point using known values surrounding that point. The field data here (produced by an amateur) shows one place, doubled. Metaphorically, new, very local 'data points' are inserted within the range of a continent-wide set of known data points. As the narrative weaves in and out of synch, a message of doubt is introduced or inserted (interpolated) within a situation. The artwork is therefore not only an audio-visual allusion to the spatial and temporal variability of soil but also an oblique response to the advanced statistical approximation that takes place between the whole and the part in modern soil mapping. Please listen with stereo headphones.+ More details
Interview with Vancouver tattoo artist and illustrator Joel Rich http://joelrich.tumblr.com MUSIC: "Obscure Terrain" by Revolution Void http://www.revolutionvoid.com INTERVIEW, VIDEO & EDIT: Chris Bentzen for Hot Art Wet City 2206 Main Street, Vancouver BC http://www.hotartwetcity.com+ More details
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This is a video created for Credit Union Match by CUCollaborate. CUCollaborate is the exclusive owner of this video but grants licenses to use the video and re-purpose its content to CUCollaborate's clients and supporters. If you are interested in using this video on your own site please contact CUCollaborate at firstname.lastname@example.org.+ More details
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On Music for Viola and Electronics II, Banabila and Van Geel explore further into their neo classical mix of viola improvisations, ambient textures, minimal compositions, and modular experiments. After their collabs on 'Music for viola and electronics', (2014) Michel Banabila and Oene van Geel decided to continue their recording sessions, again combining viola with electronics. This time they invited Eric Vloeimans on trumpet, Keimpe de Jong on contrabas clarinet, Joost Kroon on drums, Emile Visser on cello and Radboud Mens for Ableton programming. The artwork is again by photographer Gerco de Ruijter. http://banabila.bandcamp.com/album/music-for-viola-and-electronics-ii+ More details
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