FILTER PRESS FABRIC - 1 MICRON WATER FILTER
Filter Press Fabric
- Filter press (sometimes called Plate-and-Frame Filter press) which describes the style of filters developed from the 1800s onwards. The majority of today's filters are more correctly called "chamber filter press", "Membrane filter press", or "Membrane Plate Filter".
- A form of pressure filter, non-continuous in operation; used for the removal of water from slurries, tailings, and similar products
- A device consisting of a series of cloth filters fixed to frames, used for the large-scale filtration of liquid under pressure
- A device for filtering and absorbing moisture from oil.
- A textile is a flexible material consisting of a network of natural or artificial fibres often referred to as thread or yarn. Yarn is produced by spinning raw wool fibres, linen, cotton, or other material on a spinning wheel to produce long strands.
- artifact made by weaving or felting or knitting or crocheting natural or synthetic fibers; "the fabric in the curtains was light and semitransparent"; "woven cloth originated in Mesopotamia around 5000 BC"; "she measured off enough material for a dress"
- The body of a car or aircraft
- framework: the underlying structure; "providing a factual framework for future research"; "it is part of the fabric of society"
- Cloth, typically produced by weaving or knitting textile fibers
- The walls, floor, and roof of a building
December 5: The Fragile Emulsion curated by Jon Gartenberg
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric
of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg
8A Architecten - Hotel Centro, Guadalajara (Mexico) 01
Rotterdam, March 28th, 2011
8A Architecten, i.a.w. StudioREDD and Studio-EI, designs tourist hotel in Guadalajara, Mexico for the international competition 'Hotel Centro 2010'.
Hotel Centro 2010
CoARQ organised an international design competition called 'Hotel Centro 2010 International Competition'.
The assignment was to design a hotel, dedicated to the recreational and cultural tourism, that constitutes a building of architectonic relevance that coexists with the immediate context, integrated by buildings constructed between the 16th and 20th centuries in the very centre of Guadalajara, Mexico.
Ojo de Dios
“The custom of making an Ojo de Dios is a family tradition believed to have begun with the Ruichol Indians of Jalisco. Upon the birth of a child, the father would weave a ‘god’s eye’ in the centre of the two sticks. Additional rings of yarn were added each year of the child’s life until his or her fifth birthday. It was believed that the Ojo de Dios was a symbol that warded off evil events. The cross formed by the two sticks symbolised the four forces of nature: earth, wind, fire and water
The design has been approached from an integral and pragmatic stance, in which local culture and climate, given program and the specific location for the building have been the inspiration.
The location of the building looks out over the Plaza del Ayuntamiento, located in the very centre of Guadalajara. The buildings that surround the Plaza are characterised by arcades and promenades, which give shelter to the sun and rain for people on the street. These characteristics have been the starting point for the design of Hotel Centro. By continuing the two promenades of the Plaza corner buildings, an arched entrance to the hotel has been created. The arcades of the entrance have been repeated in the base of the building, through which it opens itself towards the street and connects with the urban space. The hotel has a central patio to bring daylight into the building, which refers to the beautiful courtyards and patio’s of the surrounding monumental buildings. These principles make the building coexist with the immediate context.
The central patio forms the heart of the building. All functions are connected with this elegantly shaped inner space and benefit from the sustainable atmosphere and daylight that it brings inside. This is where guests meet and where bedrooms and roof terrace can be reached by taking the central staircase or elevator. The patio wall of the adjacent building is used as a vertical garden which, together with the water
basin, cleans and cools the air of the building.
The facade of the building consists of diamond shaped elements, which refer to the characteristic Mexican ‘Ojo de Dios’ fabric
s. It has been designed as a mainly closed and introvert ‘skin’ of the building, which filters sunlight to keep the rooms cool and at the same time gives a special light effect. The skin is built up by yellow ceramic elements fixed on glass and stucco. The construction of the building consists of a concrete base of arcades with on top a steel construction for the bedroom floors.
The concept for the interior design is an open layout, with ellipse shaped service elements like the front desk and the kitchen. The roof terrace could be used as a lounge club to attract local people in the evening.
Hotel Centro is designed as a contemporary tourist hotel expressing the local culture and linking to historical context.
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