But, to discover how convoluted the measurement of intensity can be, see an earlier answser. As you can see by carefully examining the figures above, each orange is pushed down by three oranges from above, is pushed up by three forces from oranges below, and is pushed horizontally by six oranges in the same layer. These twelve forces all are directed toward the center of the orange and all add up to zero net force, but there is a net pressure over the surface of each orange approximately trying to squeeze it into a smaller orange.
But an orange is mostly water which is nearly incompressible so the orange does not get crushed. Think of a nicely packed snow ball: if you try to crush it into a smaller ball by squeezing with cupped hands you will fail; to crush it you will have to flatten it by pushing it with diametrically opposed hands.
You might think the bottom-most layer would get crushed because there is just one force pushing up; but, each orange has six others in the same layer pushing toward its center and these keep it from getting flattened. Here is a little more about sphere packing. Does the entire group of oranges burst simultaneously in a flood of juice? ANSWER: Because the forces are not spread uniformly over the surface area, there would be a tendency to be squeezed to a different shape but still approximately preserving the volume of each orange.
And I would not expect it to happen all at once because the oranges on the bottom are certainly experiencing greater forces. I would expect the out-of-layer forces from above and below to tend to flatten the lower-layer oranges but the neighbors in the same layer to cause the oranges to have a hexagonal shape, so the oranges would tend toward a hexagonal-prism shape.
This ignores the possibility of orange peels rupturing, but I would think things would tend toward this shift before much juice flowed! A wind turbine fan's blades are commonly very long to increase torque and to decrease speed. Or, can I increase torque, by increasing of mass, without increasing length of the blade? What is the formula applicable here? The simplest place to start is your first question: does the mass of the rotor have an effect on the torque on it?
Typically, the turbine has three blades. I will just analyze a single one and the same arguments could be made for the other two. Call the length of the blade L and assume that the force on it due to the wind is approximately uniform along the length of the blade the force on a tiny piece of the blade near the center is the same as the force on an identical tiny piece near the end. So, the answer to your question is no, mass does not affect the torque; the torque depends only on how hard the wind is blowing and how long the blade is.
Your second question is how can you decrease speed by changing the mass M. Your third question is moot since we have established that torque does not depend on mass. Now the question. If I sat down on the hovercraft with the leaf blower in hand and we became one with the hovercraft and I then blew air into the sail would we move forward or would action and reaction of the leaf blower neutralize the forward motion? Standing on the ground and pushing with the stick on the sail, there is an unbalanced force acting on your hovercraft the stick.
Now, if you stand on the hovercraft, the stick exerts a backward force on you part of the hovercraft, now and the stick exerts a forward force on the hovercraft and these cancel out. Or, if you like, the only forces which have any effect on a system are external forces and by becoming part of the system what you do is no longer an external force. The leaf blower is a little trickier, but I believe even worse! The leaf blower will exert a backward force on you like a little jet engine and the stream of air will exert a forward force on the sail; but some of the force from the stream of air will be diminished by the air slowing down on its way to sail because of interaction with the still air.
So, the net effect would be for the whole hovercraft to move backwards; probably not noticible because of friction and the smallness of the loss of power due to the still air. Where do we get it from if it is lighter than air and doesn't react with any other elements in the normal human tolerant environment? Even though it is the second most abundant element in the known universe, there is virtually none in the atmosphere because it is so light that its average speed is greater than escape velocity and it shoots off into space and is not tied up in rocks, water, or other chemicals because it is inert like hydrogen is, for example.
The first large amounts were discovered in as a byproduct mixed with the methane in natural gas wells; today large scale amounts come only from helium trapped underground. QUESTION: Why nucleon number is the sum of the number of protons and neutrons instead of the sum of the number of electrons and neutrons or between the number of protons and electrons , explain the logic? Nucleon means either proton or neutron; a proton is a nucleon and a neutron is a nucleon. Nucleon number means number of nucleons.
Electrons are not nucleons. My daughter is 5 years old and playing Kindergarten basketball. Only one person on her team can toss the ball high enough to score, the ball weighs roughly 1 lb and the goal is roughly 8 ft high. I purchased a weight trainer ball that is exactly the same diameter as the regulation ball she uses but it's a 6 lb ball. My theory is that I can build her a goal in the house that is not as tall but would require the same energy to make the basket. And when it comes time to shoot the lighter ball in the taller goal, she shouldn't have any problems.
All this assumes that the ball is thrown straight up. Note that I have not really answered your question because you asked for force and the energy input depends both on force F and the distance s over which it is applied. In golf, if I hit a ball very hard and then I hit one very softly, is the one hit very softly more likely to move or sway in its straight path? No golf ball goes in a straight path, so I presume you mean that it does not curve left or right; such a ball, if not curving, would have a projected path on the ground like the path of its shadow which is straight.
For a right-handed golfer, a ball which curves right is called a slice and one which curves to the left is called a hook ; these have opposite spins. Neglecting the possibility of wind, the reason that a ball curves is because it has spin. But now it gets complicated because: the hard-hit ball is in the air much longer than the softly-hit ball; t he lateral force causing the curve depends on both the rate of spin and the speed of the ball, so the hard-hit ball will experience more lateral force than the softly-hit one if they have the same spin; even if the slow ball has a bigger lateral force, the fast ball is likely to be deflected a greater distance because of its longer flight time; a lateral wind will exert the same force on both, but the fast ball will be deflected farther because of the longer time.
So, you see, there is no simple answer. To avoid curving, learn to hit the ball without imparting significant spin! The noise sounded like a large glass that just hit a hard tile floor, but loudness was magnified.
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As it turned out we came into the living room to find a glass platter that we had sitting on the coffee table for about a year just shattered. We used the platter to put 3 little oil lamps on. Inside our house the next morning at 6 AM we heard thunder outside so thought it might have had something to do with the barometric pressure. The temperature was a constant 68 degrees as it was for the months that was on the table.
If you have any idea about this, we would appreciate it. It has a quite large coefficient of theremal expansion a large change in size for a small change in temperature and is a poor conductor of heat. This means that as it cools it does not all cool at the same time.
This can result in very large stresses being "frozen in" at some locations. What causes it to spontaneously break is usually difficult to determine; most likely it had recently been bumped or your oil lamps might have caused hot spots on the glass. Such things could have caused a tiny fracture to begin and the final shattering could easily come at some unpredictable later time. Unusual but not unexpected. I just wasn't sure how accurate I was when I said about mph. Please if you don't know just tell me so I can find someone who does—we got bets on it now amongst the family.
A half mile would correspond to his having dropped by about 0. Back to the drawing board! Finally, since the speed is going to get pretty big, we need to take air drag into consideration because the drag force is proportional to the square of the speed. This is all very rough but should give you an order-of-magnitude estimate. Why do they always use solar instead of the windmill type of generation? It seems to me, once the rotation is started, it would continue forever?
Thus if you used a rocket to start the rotating part of the generator, and it kept spinning, could you use the magnetic field to protect say, an astronaut inside the generator? If it was big enough. Would you get perpetual energy if you used the electricity created in say, a microwave rocket engine or electromagnet.
Or does the magnetic force alone cause the spin to lose momentum? You could even imagine making extremely low-friction bearings so you could mount this on the side of your spacecraft and it would at least spin for a very long time before slowing down. But, the minute you hook it up to a generator you are asking it for energy so it immediately begins to slow down, giving its kinetic energy to you to power a light bulb, maybe.
There is no free lunch in this universe, and if you want energy you need something to give it to you and the sun is the most convenient source in our neighborhood. If all matter in the universe expanded from a single point the size of an atom the big bang wouldn't things be moving faster from each other because of geometry?
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If you start with a sphere the size of an atom and it expanded outwards over billions years even a Planck length size degree difference would be immense. It would cause things to move farther apart at faster rates as time went on. Are things moving faster away from each other because of geometry and angles, and not from hypothesized dark energy?
If a collection of objects interact only via an attractive force gravity in this case , any one of them can only speed up when moving toward their center of mass. The details of the motion would be determined by the initial conditions. If all the objects were moving away from some common point at some time, the only possible motions would be for all to move forever away from each other, but forever slowing down; for all to slow down and eventually turn around and speed up back together; or for some to come together and some to keep going. The simple reason is that the potential energy of such a system increases as the objects get farther apart so the kinetic energy must decrease to conserve energy.
If that's true, why does light have a speed, instead of just being instant? Does time not stop for light when it travels? ANSWER: First, you cannot reach light speed, no object with mass can; so let's not talk about how fast your clock would be running if you went light speed. What happens at high speed is that your clock will run slow when measured by an observer you are passing. To you, time would seem perfectly normal; however you would observe distances along your line of travel to be shorter and therefore you would take a shorter time to get there.
Now, if you are traveling at almost the speed of light, say Regarding whether time stops for a photon, my stock answer is that a photon does not have a "point of view" and it is pointless to ask how fast a photon's clock is moving because a photon does not carry a clock with it. Gravitational waves are predicted by general relativity, the best current theory of gravity. Gravitons would be the quanta of the gravitational field is a successful theory of quantum gravity is ever devised.
You can look in the faq page for earlier answers about gravitons and general relativity. QUESTION: I've been dealing with a false prophet who says that a comet is coming and is going to skim the earth, as if to skip off of it, like a stone skipping on water. Is this even possible? She says it will skip off of the earth and keep going into space. Please let me know if this is even possible? You might recall that during the Apollo 13 failed moon mission there was concern that if the spacecraft reentry angle were too small that they would "skip off" the atmosphere into space.
QUESTION: If it's true that oceanic tides can be caused when the moon's gravity pulls the molecules of ocean water up and away from earth by a certain distance, and if it's also true that earth's atmospheric tides can, likewise, also be caused by the moon's gravity pulling the molecules in the atmosphere up and away from earth by a certain distance, then what stops the atmospheric molecules, once they have accelerated even just a tiny distance in the direction away from earth and towards the moon, from continuing on their journey to the moon?
Let's, for example, say that the atmospheric molecules in question are-to simplify matters-the ones at the very top of earth's atmosphere, so that no other atmospheric molecules are between these particular atmospheric molecules and the moon, as the moon pulls on them. ANSWER: This can get very complicated because the molecules in the air have a whole range of speeds from very slow to very fast, but I do not think that that complication is important to answer your question.
The reason that the molecules do not fall to the moon is the same as if you throw a ball straight up and it does not fall to the moon —the earth is pulling on it harder than the moon is. How anything moves is determined by the net force on it and its weight the force the earth exerts on it is bigger by far than its "moon weight". This is not a school question. I got hit in the head with this object. ANSWER: I always try to emphasize that you cannot know how much force an object exerts when it hits unless you know how quickly it stops or, equivalently, how far it goes while stopping.
Suppose that it stopped in about 1 inch; in that case, the average force during the time of stopping would have been about 75 lb. Is it because those photons are not in the visible part of the spectrum or is it something else? Photons are the quanta of the electromagnetic field; we then think of them as the "messengers of the force" communicating the force among charged particles. However, they are virtual photons which means that they pop into and out of existence very quickly, too quickly for you to observe them —hence, no glow! Also, if you think about it for a minute, if you saw a glow and the fields did not change, that would violate energy conservation.
If the earth were completely isolated, not rotating, and without atmosphere, water would flow until it formed a uniform layer over the earth; eventually any currents would damp out due to the viscosity of the water. The fact that the earth is rotating and heated by the sun and has an atmosphere would mean that the water would try to distribute itself mostly uniformly but with an equatorial bulge; however heating and cooling of the atmosphere would cause weather patterns and the resulting winds would move the water around just like what happens today.
Also, the moon causes tides which are, by definition, motions of the water. You probably could think of many more reasons the water would not become totally static. I have suffered a concussion so trying is difficult. He used to live in S. Wales and dropped stones done old coal shaft.
He was a teacher. Wonder if you could help me please: "A stationary rock is allowed to drop down an foot shaft. Without compensating for air resistance, how far does it fall during the sixth second of its descent? This is the formula. Assume gravity value to be 32 feet per second per second. Please set out your answer clearly showing your thought process, line by line. Use words as well as numbers. I'm afraid your answer so far is incorrect. I want to by a physicist.
So the total distance traveled is ft. I trust you will not present this work to your uncle as your own. I'm aware that if work is negative, it means that the displacement and force act in opposite directions. However, does negative work also always imply that the the speed of the object is decreasing, or is this only true when looking at objects moving on a horizontal plane. If only one force acts on an object and the work done is negative, it must be slowing down. If any other forces are present, all bets are off. My question is related to the He-Ne laser and has bothered me for some time as to the actual mechanics.
As He is raised to ANSWER: Because it is cheap, readily available, nontoxic, minimally corrosive, and can be kept from boiling with pressure. Perhaps most important, though, is that it has a high specific heat which means it can absorb a lot of heat without a large temperature increase. This can be a very tricky problem because v t does depend on the density of the air which changes greatly from sea level to 30, ft. So to get a first estimate, I will just assume sea level density everywhere. I guess we should now ask whether we expect it to reach terminal velocity before it hits the ground.
Actually, it will technically never really reach terminal velocity, only approach it—see an earlier answer. To actually put in the change in density with altitude would make this a much more difficult problem. The dividing line is, supposedly, either the birth or conception of Jesus. Times before are labeled BC and those after are labeled AD. There is no year zero, so the first year after this time is labeled 1 AD and the first year before is labeled 1 BC. Hence, the time from, e.
We have a vacuum chamber that can pull a 0. The pressure outside in space is, for all intents and purposes, zero, so the net pressure difference would be 0. So, the percent difference is x 0. I found the patent for it on google it's and I wanna know how you can record it because a regular microphone doesn't pick it up.
For this invention the radio wave is replaced with sound of a frequency larger than is audible but modulated by an audible signal. You could certainly make a detector call it a microphone if you like to detect these high-frequency sound waves; ultrasound imaging in medicine does just that. Then you would need some electronics to extract the audible signal from the carrier, just like you need a radio receiver to extract the audible signal from the AM radio carrier.
If they fall fast enough for air drag to be important, they will fall differently and, if they are about the same size, say a sphere and a cube, the sphere will fall faster. That may be all you want, but I will go on and explain in a bit more detail. C D depends only on the shape of the object. So, if their areas are about the same, the drag on the sphere will be smaller and it will go faster. Of course if the sphere area were ten times bigger than the cube area, that would be more important than the somewhat smaller drag coefficient and the cube would win.
Since when Albert Einstein showed us that mass is just another form of energy, the only valid such law is conservation of energy. Even in chemistry where conservation of mass appears to be correct, the ultimate source of energy is mass being changed into kinetic energy of the chemical reaction products heat ; chemistry is such an inefficient source of energy that the mass changes are miniscule.
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I just don't get why muons are so unstable since they're just leptons like electrons and neutrinos just more massive than the other two. ANSWER: If you look at the decay of the muon, you will see that the mass of the products, an electron and two neutrinos, is much less than the mass of the muon. This means that the decay is energetically possible, energy is released by the decay so the decay products have kinetic energy afterwards.
In nature, almost always when a process is energetically possible it will occur. Only in cases where a decay would be prohibited by some selection rule will decay not occur. For example, a proton cannot decay into three electrons because charge conservation would be violated, even though it is energetically possible. I explain it in this link. Is it correct? In your example, an earth-bound observer observes the traveler to travel 4.
The traveler, as you correctly surmise, observes the trip to take 0. However, you have not taken length contraction into account. The traveler observes the distance she has to travel to be 4. QUESTION: So if black holes suck in everything in including light that must mean everything is getting pulled in as fast or greater then the speed of light.
So if light is weightless and it is sucked in. What happens to any mass as it is sucked in. Would the mass of the object then cease to have mass? Because im pretty sure anything traveling at the speed of light has to be mass-less correct? And how does gravity effect something with no mass? I dunno if it is a good question or not but i couldnt find a whole lot on the subject. Specifically, suppose the Sun was to "explode" or supernova; ignoring the obvious destruction of the solar system, what would happen to the planetary orbit of Earth?
I presume it would be roughly akin to letting go of the string at the end of which I have a ball spinning around me. If the sun were to "explode", the center of center of mass would continue to be at the center of where it was before the explosion. A star explodes approximately isotropically, that is, material goes out at the same rate in all directions. So, until the material reached the earth's orbit, the orbit would be unchanged. But, as material gets outside the earth's orbit, only the material inside would contribute to the force felt by the earth this is Gauss's law.
So the earth would behave as if there were a star of constantly decreasing mass at the original center of mass. QUESTION: okay, so i wanted to ask what would be the KE of a tungsten rod of length 70 m with a conical end of height 10 m, 6 m in diameter at one end and 6 cm at the other , weighing Note that the composition, size, and shape are irrelevant. This must be some kind of projectile in a computer game. If so, how? I need to stop it from distant. To stop a moving object you must apply a force antiparallel to its velocity.
QUESTION: I bought a lb gun cabinet and need to pull it on a 2 wheel hand cart up a 12ft ramp at about 35degrees to the horizontal How much load does 1 or 2 people have to carry and how much is borne by the wheel. I am trying to make sure we can be comfortably safe! ANSWER: I could make a rough estimate but would need to know the dimensions of the cabinet, if the center of gravity is near the geometrical center. I would assume that the cabinet was parallel to the ramp when being pulled.
It would not be parallel to the ramp but about 20 degrees from the ramp which is about 35 degrees to the ground thus avoiding 4 steps. ANSWER: Since only an approximation can be reasonably done here, I will essentially model the case as a uniform thin stick of length L with weight W , normal force N of the incline on the wheel, and a force F which you exert on the upper end.
In the diagram above, I have resolved F into its components parallel x and perpendicular y to the ramp. Next write the three equations of equilibrium, x and y forces and the torques; this will give you the force you need to apply to move it up the ramp with constant speed. I summed torques about the end where you are pulling. Note that you do not need to know the length L. If someone were at the wheel pushing up the ramp with a force B , that would reduce both F x and F y.
How much longer would you have to make the rope if you wanted it to be exactly one foot above the surface all the way around? ANSWER: I hope you don't think that the rope would spontaneously rise up if it were longer than the circumference of the earth; you would have a slightly slack rope laying on the ground. But, it is easy enough to do. But after the uranium is used and to produce energy as efficiently as possible I would think that you would implement a system that would immediately and directly use said produced uranium into some form a fission reactor.
So a thorium reactor must be a fission reactor. It would be inaccurate, though, to call thorium the fuel because thorium is not fissile. If a thermal neutron is absorbed by a fissile nucleus, it will fission and result in more neutrons leading to more fissions and the reaction can be self-sustaining. Thorium is said to be fertile , absorption of a neutron results in production of a fissile fuel. So a thorium reactor is a breeder reactor, a reactor whose purpose is create fuel.
As the U builds up, it becomes the fuel. Like how huge would it have to be? You could do a more accurate calculation but this gives you a reasonable estimate. QUESTION: Why is it necessary to have a minimal temperature of million degrees Kelvin for nuclear fusion on earth if the sun does nuclear fusion at a temperature of 15 milloin degrees?
The mass of the sun is 2x10 30 kg, quite a bit bigger than the mass of fuel in a fusion reactor. Therefore the rate of fusion in the sun can be low but the energy output would still be huge. Increasing the temperature would increase the rate.
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In a fusion reactor, the practical densities are many orders of magnitude below this. Again, the rate of fusion would be dependent on the density of the fuel. Nothing doesn't have mass. Is this true? I was taught that everything has an inherent mass. Is he wrong? Am I wrong? Does sheer nothingness have a mass or not. Please help me. My friend just blew my mind and I'd like it to be back together.
See a recent answer for more detail. However, the vacuum does not contain mass in the sense you normally think of it —you cannot "weigh" a vacuum. Also, photons, the quanta of light, do not have mass. Until recently it was thought that neutrinos have no mass; they actually do have very tiny masses. All the double negatives in your question and my answer make this a little confusing; I hope I have answered what you meant to ask!
I have read that Paul Dirac showed, how changing some relativistic factors in Shroedinger's equation can spontaneously lead to the "spin" concept. For our purposes here, "not normalizable" means that the wave function becomes infinite somewhere. To visualize spin, read two earlier answer 1 and 2.
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QUESTION: I've just found out that a proton isn't made up of two up and one down quark but also contains zillions of other up and down quarks along with their anti matter equivalents. Here's a link to an article from the L. C people at Cern that shows this. I'm amazed and confused because I thought that matter and anti matter particles would annihilate each other.
Why don't they? And, if they do, how is the 'zillions of other quarks' balance maintained? ANSWER: The crux of what is going on here is that a vacuum is not really a vacuum as we generally think of it —nothing. Particle-antiparticle pairs are continuously popping into existence and then annihilating back to nothing after a short time.
This is called virtual pair production. Also, if a particular particle experiences a particular force, the messenger of that force gluons for the strong interaction, photons for the electromagnetic interaction are continuously being emitted and reabsorbed. All this is called vacuum polarization.
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So, I could give you a similar description of the hydrogen atom: the hydrogen atom is not really a proton and an electron, it is a proton and zillions of electrons and positrons and photons. If you really want to understand the hydrogen atom in detail, you need to take the effects of vacuum polarization into account see the Lamb shift , for example. The CERN explanation should have included zillions of positrons and electrons and photons inside the nucleus also. Just as a hydrogen atom is pretty well described as a proton and an electron as a first approximation, a proton is pretty well described as three quarks as a first approximation.
Radioactivity turns out to behave that way: if you measure R for 2x10 20 radioactive nuclei it will be twice as big than when you measure R for 10 20 nuclei. However, this all depends on there being a large number to start. You just could not predict when. What is a consistent way to calculate the amplitude? Is it half of the length of AB subtract the natural length of the spring? Suppose that you exert some force F such that the springs are stretched by a distance s. Besides Earth rotation and revolving, there's our path in the galaxy, and even greater in relationship to all other galaxies, and please include the expansion of space-time.
ANSWER: First you should understand that it only makes sense to ask what our velocity is relative to some inertial frame of reference. And, also, it depends on things like what time of day it is, what time of year it is, what year it is, etc. Given the roughness of this calculation, trying to fine-tune it by adding in the expansion of space-time is pointless. The problem asked how much work it would take to move a satellite that was orbiting Earth at a certain height to a greater height.
Some of us say that the work equals the change in potential energy, while others say that the work is the change in the total mechanical energy. The total energy method gives an answer of exactly half of the amount the potential energy method gives. Who is right? Both orbits are circular. Of course you will have to figure out what the velocities are in terms of the radii, but that should be a piece of cake for AP students! How long would it take a car to slow down without using breaks? This is not homework. I am a claims examiner that is trying to get some information as to the rate of speed in which a car decelerates.
I could do this if I assumed no friction whatever, but it would not be predictive of the real world because there is plenty of friction acting on a moving car even without brakes applied. I could make a better estimate if you could tell me how far this particular car, starting at 45 mph, traveled on level ground with brakes not applied. Also, is the car in gear? In neutral? Engine running? In the real world it would be way less than this. Why don't we have any feeling of revolving?
The acceleration due to the earth's rotation on its axis is larger than this but still way smaller than you could "feel". However, 4 protons have become 2 protons and 2 neutrons and neutrons are more massive than protons - so we have apparently gained mass - which should require an input of energy. My research finds that the He4 nucleus is less massive than the 4 protons that made it because mass has been converted to 'binding energy'.
Questions: Since a lot of the mass of a proton comes from energy, doesn't this 'binding energy' add mass to the He4 nucleus? The protons that formed this nucleus are made up of Quarks held together by energy in the form of the exchange of Gluon particles. To convert to a neutron, an Up Quark has become a Down Quark with more mass. What mass has the He4 Nucleus lost? Do the Quarks in the He4 nucleus have less mass than those in the H1 since the Quarks appear to be the only mass in the process that can convert to energy?
If the energy did come from the Gluons, are Quarks in He4 less tightly bound than those in H1? Does this continue to occur as you move up the fusion sequence to higher mass elements? Has the creation of matter from energy e. Or are we working purely on theory based on remote observation of the Sun? ANSWER: I should really delete this question altogether because it has ignored the site ground rules stipulating " …single, concise, well-focused questions…" However, I will address at least parts of the question to clear up some major misconceptions.
Although the questioner asserts that he is " trying to understand a relationship between nuclear physics and particle physics", I will ignore all questions relating to quarks and gluons because if the nuclear physics itself is not understood, then there is no point in trying to relate it to particle physics. To understand the fundamentals of nuclear physics, you do not need to even know that quarks and gluons exist, only that a strong nuclear interaction exists. In the opening paragraph the mass of the 4 He nucleus is compared to the mass of four protons. This is a meaningless comparison because the constituents are two neutrons and two protons.
Indeed, the mass of the 4 He nucleus is less than the mass of its constituents. Does it take work to pull a proton or neutron out of the 4 He nucleus? Of course it does, otherwise the 4 He nucleus would not stay together. So energy must be added to disassemble the nucleus and this energy resides in the greater mass of the constituents. I find this much easier to understand than to say that the excess mass of the constituents is "converted" to binding energy.
As you move up to create heavier and heavier nuclei via fusion, the fusions continue to release energy but in decreasing quantities until the final product is iron. Thereafter, if you want to fuse nuclei, you must add energy. So, elements heavier than iron are not produced in stars. Heavier elements are produced in supernova explosions. You ask if "…creation of matter from energy…" has ever been observed. It happens all the time. But that is really the wrong question because matter and energy are not different things, matter is simply a form of energy.
Kehlani lani Oh oh Ay What you thinking? You think that you could be better off with somebody new No Somebody Told Me just with you on you r birthday And I met you r whole family But on the way home You kinda look at you r phone Couldn't help here ask her a step babe And the way Healthy king'bout you when you 're not with me No this ain't healthy Don't even smile don't even look at me don't look Don't say the words Now a man's buying everything you want for you And when you hit that dunk You know I'm right there with 29 4. Don't you look away when I ask you why Why you ask me to stay when you wanna go Dancing with other ladies while I'm here at home?
Yeah Was it something that I done? Am I being dumb? I did nothing wro Kehlani lani Oh oh What you thinking? Now a man's buying everything you want for you And when you hit that dunk You know I'm right there with 35 7. Give me a reason why I thought that I could trust you never mind Why all the switching sides? Where do I draw the line? I guess I'm too naive to read the signs I'm just lookin' for s Gotta get up out of this town Oh oh Oh ah I stay up talkin' to the moon Been feelin' so alone in every crowded room Can't help but feel like something's wr 36 We Can't Stop on't care' Cause we came to have so much fun now Bet somebody here might get some now If Can't you see it's we who'bout that life?
Geronimo Blow some kisses to some mistresses they fall like dominos Dominos vamonos ba 47 Can't Wait edictable You remind me of someone that I never know And Claim nd I know you got away I know a lot of girls hate you Ah they wanna replace you ' Cause of the way that I rate you You 've heard a lot but it's all game A couple dopeboys ball players Couple niggas straight out the fraud game Same one but they all Serena Ryder lows with you r fear incarnate Never gone until it's stripped away A part of Andra Day lows with you r fear incarnate Never gone until it's stripped away A part of No Good At All painting you once bought Further down the line there could be hope A girl whose greatness will prove something more A beauty no one will know Cap'n Looty made our dinner buffet so much better- he is hilarious and my kids had a great time laughing at his jokes.
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It is a nice surprise for everyone as you ride to your floor. We look forward to your next stay! Legoland Hotel is awesome. The entire family loved it! Fun things at the hotel to do and the rooms were so cool! I was so happy to be able to book on Trip Advisor. Last year I went through Lego land and it was very expensive.
The Hotel is full of entertainment that is interactive for the whole family to enjoy. The Resort was created with younger children in mind from the Hotel to the Park. Thank you for your kind words, we look forward to you visiting with us again. Fortunately, SYR provides their delicious food to our visitors of Taferelen so you can enjoy the authentic Syrian cuisine.
A maximum of 25 seats are available for this event. To keep the evening dynamic and diverse artists are placed next to theorists. Buy your tickets here! Controlled by algorithms these systems check predetermined behavior that can indicate criminal activity. You will get some food, coffee, tea and water, and a tour with two enthusiast speakers. At the self-service bar there will be sodas, wine and beer. The venue is open at For more information or group reservations you can mail to info fotodok. We hope to welcome you at Taferelen! Social media sites and search engines are the key ingredients of the change from the manipulative form of propaganda of the past to the prevalence of the Post-truth paradigm of the present.
How are words and ideas used to obscure and manipulate? The exhibition and panel discussion of Truth That Lies look at the different political and cultural strategies that have been used in our Post-truth reality and in our recent history. The Fiction Department is represented by Truth That Lies , an exhibition exploring a use of language through gesture, manipulation, hate speech, algorithm, propaganda, make-believe or tautology.
The Records Department is mirrored in a panel called War on Facts. This panel will be organized on 8 February, prior to the opening of the exhibition, and it will address misinformation, alternative facts, fake news and information manipulation. The programme researches the development of Post-truth, how it was used in the past, how it affects personal identity, and what the future would look like if things proceed from here. A panel discussion organised in conjunction with the exhibition Truth That Lies, addressing misinformation, alternative facts, fake news and information manipulation.
The exhibition and panel discussion look at the different political and cultural strategies that have been used in our Post-truth reality and in our recent history. The Records Department is mirrored in the panel War on Facts. Speakers in the panel: Emillie V.
Join us after the panel for the free opening of the exhibition Truth That Lies from ! This panel considers the theme of future life from a biological perspective. What is the role of humanity in climate change? Are we the meteorite or the dinosaurs? Do bacteria rule the world? What will the impact of synthetic biology be?
Will a new pandemic come and wipe out human life? How will life on Earth co-evolve with new technologies and what will the ethical implications be? We will look at the roles of artists and scientists in engaging the public, influencing behaviour and helping us to understand our place in the ecosystem with a focus on BioArt and media art. Computational neuroscientists study the data about how neurones in the brain fire in order to calculate the optimum moment to apply light and reset the cells. The aim is to engage in a playful activity in order to learn about the science.
The artwork is made in collaboration with Professor Volker Steuber Associate Dean Research in the School of Computer Science at the University of Hertfordshire as well as Head of the Biocomputation Research Group, and Professor Freek Hoebeek at the University Medical Centre in Utrecht and the aim their research is to provide future healthcare treatments for patients with absence seizures and significantly reduce any risk of brain damage. He is a renowned expert in infectious diseases and is currently focussing on writing a new book on the natural history of bacteria.
After graduating in medicine from Birmingham, he trained as a medical microbiologist in Oxford. He is also an entomologist. This panel explores what the impact of new digital technologies will be on the future of life and asks what are the risks. How is robotics changing the world? How will virtual reality change experience? What new questions are being highlighted by the arts and science fiction?
And can the democratization of technology through DIY, maker and hacker culture widen public participation in these debates? This panel explore the benefits and risks of artificial intelligence AI. Can AIs make art? What are the limitations of machine learning and genetic algorithms? How can we control or legislate AI? Should AIs be given rights? Are AIs an existential threat to humanity?
Paul Brown is a computer artist based in the UK and Australia. Paul Brown discovered digital computers as a creative medium after seeing the Cybernetic Serendipity exhibition at the Institute of Contemporary Art in London in Early in his career he began developing processed-based methods for generating images and time-based artworks as an alternative to the then common approach to art making as a form of self-expression.
Brown designs computer programs but emphasizes that the art is not embedded in the programs by intention but instead emerges autonomously from the execution of the programs. Every summer, a group of Russian hunters travels to the remote New Siberian Islands to excavate certain animal remains that are being traded for big money on the Chinese market: the tusks of woolly mammoths. This hazardous enterprise takes months, and it has cost many men their lives.
Success is far from guaranteed. At the same time, a loose alliance of scientists in Boston, Seoul and Shenzhen are chasing their own dream of cloning the mammoth. In a time of rapid developments in the world of synthetic biology, the discovery of a very well preserved baby mammoth suddenly makes their dream seem feasible. Documentary filmmaker Christian Frei War Photographer and his Russian co-director Maxim Arbugaev place the two worlds in diametrical opposition, and the result is an epic, visually stunning film that alternates between humble and grandiose dreams, and between blind faith in progress and a chilling perspective on the future.
Anna Dumitriu will introduce the film and bring in some of her own perspectives working with CRISPR gene editing and with cold-loving bacteria frozen in the Arctic Tundra. What : Screening of Genesis 2. In his work Belgian artist Maarten Vanden Eynde Leuven, looks for and relates to different fields of study, social contexts and anthropological perspectives. One of his main interests is his self invented field of study Genetology The Science of First Things , a post-apocalyptic science which collects imaginary pieces of a puzzle putting back together again a possible future history.
What will remain of the present? From a fictive point in the far future he tries to imagine how we will look back and which aspects of our evolution and presence on earth will remain. During his artist talk he will discuss these works in relation to the exhibition A World Without Us next to other projects he has been working on. BK-NU, Beeldende Kunst Netwerk Utrecht and the digital culture sector of Utrecht would like to invite you to bring a collective toast to a new year full of beautiful projects.
The fields of fine arts and digital culture have united for the occasion and during the drinks various organisations from the two fields will briefly present the programme that they will offer in We hope that you will celebrate the start of the new year with us on the 22nd of January and we would be very grateful if you could sign up via the RSVP form below. Expodium, ………………………………………………….. RAUM, ………………………………………………………. SETUP, ………………………………………………………..
This conference programme reflects on the themes of the exhibition A World Without Us and inspired by ArchaeaBot, an artwork by Anna Dumitriu and Alex May, it explores what life might mean in a post climate change, post singularity future. We ask what roles art can play in engaging audiences in environmental issues, the development of new technologies and the societal implications of our decisions.
Our programme features internationally renowned speakers and keynotes from across art, science and philosophy and explores our themes from perspectives of robotics and AI, microbiology, synthetic biology, neuroscience, hacking, and environmental activism. What would a world without us look like? Will it be ruled by transhumans, intelligent robots or bacteria? The post-Anthropocene: a world where mankind has been stupid enough to eliminate itself. Unacknowledged threats like climate change and artificial intelligence make this an ominous possibility that is worth examining.
But it is also not so significant that robots can move through an art space without a living and breathing desk clerk pushing a button. These robots by artists Katrin Hochschuh and Adam Donovan are the most endearing work in the small exhibition by Impakt, center for media culture in Utrecht. The Empathy Swarm consists of a group of tiny robots on wheels.
It seems like they want to make contact. Or are these feelings of affection little more than human projection? Halfway through the duration of the exhibition Empathy Swarm will be replaced with Antisocial Swarm Robots by Anna Dumitriu and Alex May, mini robots that rather stay away from each other. In a striking manner Empathy Swarm shows how little is needed to induce our empathy for a lifeless object.
It provokes the question of why mankind takes so little care of its natural environment. This video, a collaboration between artists, scientists and volunteer researchers, shows the search for invisible pharmaceutical and chemical residues in the oceans, seas and rivers of our planet. How can we feel responsible for imperceptible pollution? Only a dry video presentation can be seen of the work: this is not art that is intended to stimulate the senses, this is art that wants to convey ideas. The film shows a shiny black Samsung smart fridge in front of a green screen on which images are projected, among which those of other Samsung products and foodstuffs.
What you hear is the auto-tuned deepest thoughts of this smart fridge. Semi-conscious, locked in a cool container. But yes, here you find our empathy with things again. What another life form could look like after earth has become unlivable for humans is imagined in a different work by Antisocial Swarm-designers Dumitriu and May. The ArchaeaBot is inspired by archaea, a type of primeval bacteria that is seen as one of the most ancient life forms on the planet. In a tiny aquarium at Impakt the ArchaeaBot listlessly taps the glass with its mechanical arms.
Is this really what mankind leaves behind? Should a different world without humans really occur, we should hope that we can be there to see what it will really look like.
Corrected : below the photograph of ArchaeaBot the wrong photographer was mentioned. This has been corrected. The new European Media Art Platform offers residencies for media artists in the fields of digital media including Internet and computer-based artists, filmmakers, and those working in media based performance, sound or video as well as robotics or bio-art.
Artists with an EU passport can apply for a two-months residency within April and August exact timing has to be negotiated with the host at one of the following institutions. Although EMARE is an open call, some organisations are particular looking for certain topics, please check all members information carefully!
EMARE includes a grant of 3. All selected artists will be invited for a networking kick-off conference 1st to 3rd of March in Utrecht in the Netherlands. Please save the date! Applications should be submitted online and must include a CV, audio -visual documentation and a preliminary plan or sketch of the proposed project to be developed within the EMARE programme. Artists groups are welcome if they are willing to share the conditions including the accommodation, grant and project budget.
That also implies that there might be only one artist out of the group getting invited to the networking conference and group shows if there is not enough additional funding to cover the extra costs for the other participants of the group. Contact for any further questions: Werkleitz Gesellschaft e. Truth in Numbers?
- Wakeworld (A Book of the Between).
- Storytelling for social entrepreneurs.
- Best CLASSICS ILLUSTRATED COMICS images in | Classic comics, Comics, Classic books.
- The Everyday Atheist;
By means of documentaries and feature films the programme takes a look at our current political landscape. After the screening he will discuss the film with Impakt director Arjon Dunnewind. The artists in the exhibition A World Without Us will discuss the works in the exhibition as part of their body of work and the questions the exhibition wants to address: What will our future with robots and AI look like? How can artists contribute to change with narratives regarding our impact on the planet? Can we influence human evolution?
Should we? What can we learn from the past if we want to look at the future? Is there a planet B? The 3D Additivist Cookbook is composed of responses to that call, an extensive catalog of digital forms, material actions, and post-humanist methodologies and impressions. The series Subocean Botlights departs from the fact that most intercontinental communication is done via glass-fibre cables under the seas. This network carries threads of light as thin as a tenth of human hair while being as existential to technological societies as the sun is for the plants.
The artificial sun rays plunge through the oceans and light up our faces via bright screens. Subocean Botlights introduces baits into these networks that lure in threads of light from different parts of the globe generated by creatures of the internet, the bots. After having crossed the depths of the oceans, this light is transformed into growth and searchlights in the exhibition space. From a fictive point in the far future, he tries to imagine how we will look back, and which parts of our evolution and presence on earth will remain.
GreenScreenRefrigeratorAction shows a shiny black Samsung smart fridge pondering its existence and mingling with like objects. As we create increasingly smarter objects, Mark Leckey predicts a world in which things become sentient, start communicating, and alter our environment into new digital ecosystems.
The question is: How do the oceans feel our impact? The scene centres on two mountains, one hovering upside-down above the other. Their summits meet in the centre to create a giant hourglass shape. Melting ice from glaciers above rains down; burning forests below send thick smoke up into air. Cold rain, hot smoke, stone and ice particles form an unstable orbit, which rotates around the calm centre of the surrounding chaos.
The precarious balance is about to tilt at any moment. For now, the situation seems to continue. A meditation on the idea of the Anthropocene, the high-definition computer-generated landscape consists of short loops reminiscent of gif-animations. Please note that this work will only be on display until 2 December! The swarm is a society of robotic creatures based on the equality of all members and constantly negotiates and balances the needs of all individuals.
On another level, Empathy Swarm defines its very own definition of what it means to be a utility apparatus, which is based on the idea of machine education, leading away from an optimization concept of human set goals in the form of machine learning and implements the idea of self-drive and self-determination of the robotic machine instead, that does not evolve from a position of suppression and machine revolution against the human supremacy, but instead fosters the careful convergence of both species into an ecosystem and society of empathy and compassion for each other and among themselves.
The human and robotic mind are merged into an extended hive mind that is a source of information and inspiration for future societies and can be utilised as a preventative medicine for a dystopian future. Antisocial Swarm Robots explores how humans psychologically perceive the programmed actions of robots by projecting their own meanings and emotional responses onto them.
The installation exposes subtle and complicated emergent behaviours that humans will psychologically perceive as having a wide range of high-level priorities, and even emotions and desires. Controlling Datapolis. Saturday 23 February When we navigate urban environments we can easily access information but there is also a lot of data extracted from us. What kinds of regulation can protect us from abuse? How can we support democracy and enhance citizen participation? What does protest and civic disobedience look like in the digital city?
And how can we make sure that augmented realities in urban spaces remain free and open and not colonized by commerce? The panel takes place in cooperation with the Videonale Bonn. What mechanisms are driving these online resources, how can they get manipulated and how are they connected to existing and new power structures in our society? These urgent questions concerning our post-truth era, spoken by Impakt Festival founder Arjon Dunnewind , resonated through the Theaterzaal at Het Huis in Utrecht NL and introduced the theme of the Impakt Festival The festival theme is addressed as a metaphor, the curators explain, to be critically assessed by the audience, to provoke discussion by combining as many different views as possible, a format IMPAKT Festival has been successfully maintaining throughout the past years, critically reflecting on contemporary media culture.
Illustrating how algorithmic superstructures are shaping our thinking our perception and value system, they speak to a need for accountability and new forms of public democracy. The exhibition asks how, in this landscape, we can preserve our democratic legitimacy whilst embracing technological developments maintaining the integrity of our democratic processes.
Stand out is Imagenet. Where the artists actively engage with digital networks and algorithms in order to reflect on our current state and possible future scenarios, the keynote presenters and panels present more outspoken views on the digital condition. The festival kicked off with activist keynote speaker Adam Greenfield who openly advocates to pay more attention and resistance to the radical technologies that control and transform our daily lives and are redefining what it means to be human.
According to Greenfield, we need to re claim our place in the future. Who owns augmented space? Influenced by his previous projects and how it occurred to him that we have hardly any agency over the decisions institutions make, Cirio started to think of a political philosophy that could become a global democracy. Global Direct, according to Cirio, turns globalisation and technology into an opportunity: it can be seen as a political party or movement but actually is an utopia of the internet.
On the official last day of the festival, open source research collective Bellingcat represented by founder Eliot Higgins , took over, showing its civilian service to investigate the truth whatever this may mean in this post-truth era through open source online resources, putting transparency and accountability up for discussion but also showing how journalism can adapt to this new conditions and even prove to be of high value to certain law cases this is also very much reflected in the work of Turner prize candidate Forensic Architecture. Where former keynote speakers formed critical views pro or con technology, Metahaven is working right through it with their stream of associative images and texts, not giving a lecture on digital power dynamics and post-truth worries but going right through the middle of its alienating workings, an unconscious stream of internet, full on in the experience of the digital condition itself, visually being the sum of everything previously discussed without any judgement, or is there?
The festival is not merely the presentation of digitally oriented artworks and talks but moreover the discussion and buzz it creates in between the combination of all of its programs, actively inviting different views, whether positive, negative, provoking or traditional. Never judging on its presenters or artists but still carefully selecting its guests and above all always expecting more from its audience than only to listen, urging them to think and speak up.
With a new edition of the festival coming up in where critical thinkers will gather around once again and Impakt expanding their program of exhibitions this year, I feel safe to say political network developments will not go unnoticed. The Utrecht-based organisation is known for its critical view of contemporary media and technology at both cultural and a social levels. The central question: how do we relate to technology, and to the government?
A good example of someone who is trying to use the system to his own benefit is Eliot Higgins, founder of online open source investigation platform Bellingcat, which researched the MH17 disaster via online data available to everyone. Higgins will give a lecture about his research methods at the festival next Saturday. One such artist is Coralie Vogelaar 37 from Amsterdam.
Originally a graphic designer, she now makes artworks focussing on artificial intelligence and databases. It is the development that fascinates me, because artificial intelligence is still in its infancy; we have the opportunity to create a new aesthetics. For the project, Vogelaar drew on her fascination with databases. These sentences are then written by the drawing bot on the screen in handwriting taken from a large database Vogelaar maintains.
How we deal with it in the future is still a gamble; but at least we can fantasize about it. Are they running out of media-critical themes, or have I been watching too many innovative TV documentaries this past year? The list of speakers, which includes Evgeny Morozov, does nothing to lift this feeling of having been here before. The Boris Groys of media festivals has been a guest here many times in the past. The feeling of repetition also follows me around the exhibition. Perhaps this is because Egor Kraft — one of the names who has grown up at this festival — has based his monumental video installation very closely on an older project by Melanie Gilligan.
Like Gilligan in the cycle The Common Sense, in his installation — created with Pekka Tynlkkynen, Alina Kvirkveliiya and Karina Golubenko — Kraft projects the future onto a present that seems to have changed little, representing Moscow in The narrative is about our future subjectivity, which has been consumed completely by a huge Artificial Intelligence, in this case called Plasma. It almost looks like plagiarism. This exhibition contains more than the average number of information-heavy works that like to reflect the kind of investigative journalism with which Bellingcat is conquering the world.
As in recent editions, the festival again has a compact structure in which theoretical reflection is starting to dominate. Which is something of a shame, as in the past this festival excelled as a curator of new and under-represented art. And this is rubbing off on the festival. Lectures simply work differently from exhibitions. Whereas exhibitions tend to be a showcase for young artists, lectures tend to pull in the big names.
Like Morozov. Nevertheless, I did see enough good, new work during my visit to the festival. Interspersed with critical reflection, the interweaving of digital and real lives is presented as impossible to disentangle, and some assumptions about good and evil, truth and lies are thoroughly mixed up into the bargain. A computer with a talent for drawing is not something you see every day. With an introduction by the students on Saturday at More information can be found here. The exhibition will be on view at the Academiegalerie, Minrebroerstraat 16, until Nov Opening Hours: Wed-Sun A World Without Us imagines a world without humans.
The way we, as a species, currently interact with nature and the environment means that time will perhaps arrive much sooner than we can conceive. A World Without Us wants to communicate the urgency of working towards improved dealings with nature. The exhibition will both provide space for examples of the damage we as humans cause as well as how the right use of technology can create solutions.
Climate change denial is a major issue in our Post-truth society. This denial contributes to an atmosphere in which it is nigh on impossible to create a general sense of urgency. The net result being that there is still insufficient social and political support to implement the necessary changes. On 19 January the opening hours of the exhibition will be and the tour will take place at Join us for the screening of the film Bellingcat, Truth in a Post-truth World , a new documentary about Eliot Higgins and open source investigation collective Bellingcat directed by Hans Pool. They were behind nearly all of the discoveries in the case around the MH disaster and proved that Russia was responsible.
A group of nerds and stay-at-home dads who uncovered fake news and became the thorn in the side of the global powers and secret services. They call themselves Bellingcat, analogous to the cat that receives a bell around its neck, so the mice are safe. For the first time we get to see the men behind this story. To assist visitors unfamiliar with the city of Utrecht, there will be Walking Bus Tours on Thursday, Friday and Saturday from the festival space to the exhibition space.
Each day at those interested can gather at the hospitality desk in Het Huis. A guide will then take you for a walk of about half an hour to the exhibition spaces of Algorithmic Superstructures. She took pictures of each of her catcallers within the period of one month. By making the selfie, both the objectifier and the object are assembled in one composition. Herself, as the object, standing in front of the catcallers represents the reversed power ratio which is caused by this project.
The collection was posted on Instagram and went viral world wide. With a number of The last woman on Earth. Filmed inside Biosphere 2 in Arizona, Urth forms a cinematic meditation on ambitious experiments, constructed environments, and visions of the future. Writer Mark von Schlegell contributes a text-read as the final log instalments of a woman sealed inside an unforgiving environment. Ben Rivers GB is an artist and experimental filmmaker based in London.
His work has been shown in many film festivals and galleries around the world and has won numerous awards. His work ranges from themes about exploring unknown wilderness territories to candid and intimate portrayals of real-life subjects. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds.
Rivers uses near-antique cameras and hand develops the 16mm film, which shows the evidence of the elements it has been exposed to — the materiality of this medium forming part of the narrative. This former Cold War era civil defence bunker was redesigned by architect Albert Frances-Lanord in into a data centre, housing servers for clients which once included WikiLeaks and PirateBay. Working with photography, sound and moving image, her research areas include architecture, digital cultures, media archeology, economics and temporality.
She works both in analogue and digital formats which is often mediated by the subject in which the physical and material focus of the work become implicit in the aesthetic process. Built on the structural language of documentary, her work often plays with the blurred lines between documentary and fiction. Patternist is a location-based augmented reality game, serving as a platform for users to engage with alternative urban infrastructures and economies through speculative fiction.
In order to fully understand Patternist, players must explore their existing cities, trade and interact with other players, and uncover the patterns that algorithmically link these simultaneous planets. Players use the AR interface to detect Patternist elements spawning in location-bound urban infrastructure of their Earthly cities, and combine them to generate the co-existing topographic superstructure of Patternist.
For Impakt Festival, spectacular traces of Patternist have been identified throughout central Utrecht, from the Het Huis to Fotodok, from the train station through the canals. Paolo Cirio works with legal, economic and semiotic systems of the information society. He investigates social fields impacted by the Internet, such as privacy, copyright, democracy, and finance. He shows his research and intervention-based works through artifacts, photos, installations, videos, and public art. A social experiment with performance artist Signe Pierce who walked the streets of Myrtle Beach, South Carolina in a sexy tight dress and mask.
Director Alli Coates and Pierce agreed not to communicate until the experiment was over, but never expected the terrible responses. A technicolour spectacle that elicits questions about gender stereotypes, mob mentality and violence in America. She has worked in performance, photography, video and digital art. In slow motion and close-up, the camera travels along the hands and legs of two women. They are in a corner of a blue concrete room; one woman crawls across the floor to the other, who sits on a low wall, and then returns in the same manner.
The colours are faded; only the red nail polish is vivid. Under the guise of self-portraits, she investigates and critiques the role of woman as a sex object. The explicit images in her work are shocking and prompt discussion about the purported sexualisation of society. At the same time, her works also share links with international feminist art. Two woman occupy one space. Without showing their faces, the camera lingers on their bodies in images that capture both from an extreme high angle.
The camera, set at ground level, distorts the female body, even creating a grotesque effect. Separate tickets are available for 6 euro. There is space for a maximum of 20 participants. During this guided tour in the Academiegalerie , the students will give an introduction to their work.
During this three day workshop Eliot Higgins and other members of Bellingcat will teach you how you can use the Bellingcat Method to do research yourself. Participants learn how they can use online resources and platforms and easy to obtain software for fact-checking and investigative journalism.
The first two days of the workshop will consist of a mix between trainings and hands-on investigations. The only requirements are having a laptop with Google Earth Pro installed and an internet connection. You can register via the registration form here. As part of the registration you will be asked to send in your motivation and an case study example that you would like to use the Bellingcat Method for. Your motivation and case study example will be taken in account when making the selection. Two deadlines are in effect for the registration. The first deadline is Monday 15 October , after this a first selection will take place.
The second deadline is Wednesday 31 October. From the applicants in this round we will make a second selection of participants. In the presentation Higgins will present Bellingcat and the details of the workshop. It is not necessary to register a second time. For more information and questions, you can send an email to bellingcat impakt.
Read more about the workshop in this article in the New Yorker. Festival passes and day passes are available via this link. Below is a map with the festival locations. Algorithmic superstructures are crystallizing into an overarching framework, radically changing and challenging the fabrics of society, including our understanding of public democracy, media ecology and collective action. Our increasingly encoded environment is mediated by digital devices and facilitated by computational infrastructure.
The exhibition illustrates how new technologies have become instrumental in advancing some of the greatest challenges we are facing today: the dissociation of publics leading to increased populist tendencies, authoritarianism and social conflicts and an ambient feeling of instability and insecurity on a global scale.
Illustrating how algorithmic superstructures are shaping our thinking, our perception, and value system, they speak to a need for accountability and new forms of public democracy. The exhibition asks how, in this landscape, we can preserve our democratic legitimacy whilst embracing technological developments and maintaining the integrity of democratic processes.
Learn about trends, projects, backgrounds and the history of digital culture. You can expect mixed-media installations, virtual reality, interactive games, multimedia performances, surprising lectures and presentations by digital designers, inventors and artists. Algorithmic superstructures are looking over your shoulder. Moving as you move, determining what you see, anticipating what you desire, they construct the reality around you. How do algorithms influence the way we see reality?
After the presentation you will explore the other works in the exhibition with a guide. In this exhibition students explore the complex relationship between computer systems and our daily lives. Character traits can be used to predict your behaviour. During this workshop we show and discuss how you can be labelled by organisations. Anna Ridler created an updated version of the Dutch still life for the 21st century: an artificial tulip controlled by the fluctuating price of the Bitcoin. What can the internet teach us about the workings of artificial intelligence?
Coralie Vogelaar created a pen plotter robot that is fed by trolls from 4-chan. Take a look in this audiovisual performance by experimental architect Liam Young. It consists only of footage from Russian television stations and provides a non-Russian audience with a sneak peek into the workings of Russian journalism.