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November 28, 2005

A Hero

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November 23, 2005

Interview with Aron Hjartarson

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Aron Hjartarson, Head of 3D, The Mill New York.

The Head of 3D of The Mill's New York division talks about today's challenges in the commercials market, the cg industry and his career.
November, 22nd, 2005, by Raffael Dickreuter

How did you get started in the CG industry and what kind of education do you have?

I sort of got into the industry by accident. A few friends of mine at a company called OZ purchased an ancient 3D program from AT&T called Topaz and set it up at their office. I came by one day and got to play around with it and even if it was quite rudimentary, after doing my first revolved surface, I was hooked. I just thought that now anything was possible. There weren't any computer graphics programs at colleges available at the time in Iceland, so we had to figure out a lot on our own. This was also before the internet and e-mail, so most of our research took place by fax in the early years. I remember learning about raytracing via fax correspondence with Alias Research. We upgraded to Alias PowerAnimator from Topaz, running on IBM RS/6000 machines, which was quite a step up. My first "real" 3D workstation was a 33 Mhz IBM, with graphics acceleration. That meant you could orbit around a wireframe sphere without too much lag.
The toolset we had to work with was somewhat limited, so we had to write a lot of our own tools. We wrote the first digital compositing software in Iceland using a PC, a Truvision graphics card and a Diaquest tape controller. So every frame for every layer had to be got from tape, stored on disk, composited and laid to tape again because we didn't have enough disk space to store a lot of data. We wore down videoheads at our facility quite quickly. It all got a lot easier when we purchased our first 1 Gb hard drive. It was 4 times bigger than our biggest drive, and we thought we'd never fill that thing up. It was physically huge and it made a lot of noise too, like an idling Harley Davidson in the middle of our office.
One of the coolest things we did was a facial tracking system in 1992, that tracked position of points on a face from a video sequence. We managed to get 50 hz info from our PAL cameras by de-interlacing our footage and making sure our shutter speed was high enough to get crisp frames. A lot of the high frequency nuances were lost, but it got the job done. Then of course we met up with Softimage at some convention and out of that came the collaboration with mental ray - soft had just started shipping mental ray and needed a shader library to ship with it.
We wrote the original shader library that shipped with SOFTIMAGE|3D, and I think some of the code survives to this very day in XSI.

What do you like to do in your spare time?

I read a lot. I enjoy a good book and go through phases of interest.
Politics, philosophy and international affairs have consumed me for the most part of this century, for whatever reason. I also like playing guitar and sailing which I do enjoy a lot but never get to do as often as I'd like. I guess picking up the guitar is a lot easier than driving to the marina and casting off.

What moment in your life was influental to let you pursue a career in the CG industry?

There are quite a few moments I remember, most of them related to some cinematic trickery that really impressed me. Ray Harryhausen was definately an inspiration - when I was about 6 years old, they had matinees at a tiny theatre next to my house, the 7th Voyage of Sinbad and Jason and the argonauts played every Sunday. I must have seen each a hundred times, and they scared the living daylights out of me every time.
The earliest I really gave computer graphics any thought was when I was about 13 years old and was playing with a graphics program on my Amstrad. I went to see Ghostbusters at the cinema, and remember as I was coming home that a thought struck me - that the effects could perhaps be done in the computer. Then I thought further down the line and tried to imagine the complexities in calculating light and object interaction (I was thinking volumes at the time, not polygonal surfaces) and quickly came to the conclusion that it was impossible. Then of course came Young Sherlock Holmes, which was just amazing, and of course the Last Starfighter which I came away from scratching my head and thinking "how'd they do that?" Then the Abyss, which was just sheer magic. I didn't want to leave the cinema.

What do you consider some of the highlights of your career so far?

The best thing about my job so far is that it has given me a lot of freedom. I've been able to travel quite a lot, live in different places and experience different cultures. CG knowledge is a good passport.

What kind of work did you do before you joined The Mill NY?

I've done a variety of different jobs within the CG world, ranging from software design, R&D to production. I've done quite a bit of freelancing throughout my career, which is a great way to learn. All companies have different strengths and structure their pipelines in a different way, so studying the insides of a company while on a job provides good insights into what works, what doesn't and why.

Tell us a bit about what an average project The Mill gets involved looks like, how much time you have to complete the shots and how many people usually work on a show.

It is hard to define the average CG project at The Mill, apart from the fact they usually require computer generated imagery produced in less than the time required to get them done. Seriously though, the team sizes vary a lot from job to job. What we have done to adapt ourselves to our market is to build a component based pipeline, chopping projects up into small chunks that are easy to distribute between various resources. This makes us more flexible and makes it easier to deal with the demands of the advertising industry which at times can be a bit extreme.

How early on does The Mill get involved in a project and to what extent do you guys also provide on set supervision?

One of the keys to The Mill's success has undoubtedly been to make ourselves available at the early stages of development of a project.
This way we can help influence the direction a project will take, perhaps offer up a different perspective on how to approach unusual challenges and make sure everything runs smoothly further down the pipeline. I put great emphasis on data collection on set, so I usually come back with a few gigs of data from a shoot that helps me reconstruct everything once I'm back at the office.
The flip side of that is that sometimes we get involved at a later stage, when everything has been shot and we just get the tk'd footage.
That can sometimes be a hassle and involves a lot of guesswork, especially if there is a lot of matchmoving involved.

Are there any plans that The Mill will get involved again in the film business like back then with MillFilm?

There is no official policy as of yet to get back into film, and currently we are finding great success concentrating on our core business, the advertising industry. However, the film industry does provide a different set of challenges to commercials and we have always welcomed challenges.

Clients want better quality for less money and getting it done faster and faster. What's your way to guide your teams to keep up with the neverending new challenges and pressuring deadlines?

We try to improve our pipeline constantly, not just from a hardware / software point of view, but also by expanding the skillset of our core team by fostering knowledge and information sharing between team members.

If you compare the work being done in the London office to the New York office do you see any major differences in terms that London and New York face very different challenges or is it quite the same both in terms of cg work as well as industry related issues?

The US market is very different from the European one for a variety of reasons. The most obvious difference that comes to mind is the creative lead. In Europe, the director is usually involved from the start to finish, whereas in the States a director's involvement usually goes from pre-production until the last shoot day, passing on the creative lead to the agency, editor and ourselves. This often makes for a very interesting chain of command and fuzzy boundaries at times, but when the dynamic between the different parties is right, it leads to great results. I would say that the European market is also more subject to time constraints. I'm not sure as to why that is, but would hazard a guess that perhaps smaller local European consumer markets lack the inertia of the US one and require companies to turn campaigns around quicker.

What role plays XSI in the pipeline of The Mill?

The New York office relies heavily on XSI and mental ray. We will usually funnel output from external applications into that pipeline, unless there is a specific reason we have to do the job in another package.

Which features do you find very useful?

The tight integration of most components is a personal favourite. You can get things done really quickly.

Which areas should be improved?

Stability and rendering. There are a lot of features that XSI can adapt from a typical Renderman workflow like rib archiving for example. Using clever include methods of any flavour is important, too much time is "Lost in Translation".

What special skills or character traits are you looking for when hiring a new artist, besides just being talented?

Being a decent person is very important. I think basic social skills are a definite plus, the work we do is intense and requires everybody on the team to work closely together. It's important that you work with people you can get along with. I also look for innate talent, people that have an eye. If you know how to see, the rest is just a matter of building your skillset through training.

What do you think about the current state of the commercials CG industry in New York?

I think the current state of affairs is good and getting better. It was rare to see VFX work done here 3 years ago, only a handful of companies were fighting the good fight on the East Coast. The market is going through a lot of changes and we are at the right place at the right time. Our volume of work has grown and we are seeing increasingly ambitious projects land on our desks.

In the film industry the trend towards "we will fix it in post" often means uncessary work for production houses. To what extent do you see this also true for the commercials industry?

I think the perception of production actually being careless is a bit inflated and perhaps stems from the fact a lot of people that work in post do not frequent shoots. There is a lot of pressure on the crew to do a lot in very little time. Decisions are made very quickly, so it is good to be well prepared and know exactly what you need to get and how.
I can honestly say that I have never been on a shoot where everyone involved wasn't ready to do what they possibly could to make sure we would get what we need. Within reasonable limits of course, but in the end everyone wants to deliver a great looking project. On the rare occasions we get jobs in that do not have what we need, it is usually because we didn't have somebody there on the day and the director delivered what he thought was appropriate.

Related Links
The Mill

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November 19, 2005

Impressions about RenderMan for Maya

Pixar just released RenderMan for Maya, a plugin to use RenderMan integrated to Maya.The first tests I saw in 2004 Siggraph, were very impressive. The company where I work was one of the first to enter in the beta program in may. Soon, we perceived that Pixar had a great product in hands.
The plug-in is very easy to use, totaly integrated to Maya, you just need to switch the render to RenderMan in Render Globals Window. You still render your images in Render View and creates your shaders in hypershade in the same way that you are used to in Maya. You don¢¥t have to learn new editors or tools.

RfM supports almost all shading nodes from Maya and you still can program your shaders using the RSL shading language. All existent shaders for RenderMan are compatible with RfM. If you have Slim it¢¥s just a matter of compile the shader and load it in RfM; the compatibility is total.
Using RfM, the artist have a very robust render that can calculate global illumination, color bleeding and occlusion, besides all Pixar¡¯s patented algorithms as motion blur and deep shadows.
If you are used to work with NURBS surfaces, you can forget all the tesselation problems as RfM is a true nurbs renderer. If you work with subdivision surfaces RfM renders in a more efficient way than Maya¢¥s native render. This velocity was expected, as Pixar was the first company to implement subdivision surfaces. RfM, has a better memory management than other renders, so it can process heavier scenes.


We are using the plugin in production since june. Some scenes from ¡°Claro Chuva¡± film, others from ¡°Tim Festival 2005¡± and all the scenes from ¡°Natura Vegetalização¡± (the images from this post are 2 moments of this film) were rendered using this new software.
As we work very closely with Pixar in the beta period, one of my conversations with the guys about all the changes that we were doing in our pipeline was utilized in a plugin launching press release.

www.gustavobraga.com

More Review -> Click!!!

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Linux Flame

Autodesk introduces its flagship Discreet Flame visual effects system on Linux-based workstations. 16 November 2005

Autodesk has launched its Discreet Flame visual effects system on dual-core workstations running the Linux operating system. The Discreet Flame system is already available on workstations running the IRIX operating system. As a result, film studios, broadcasters and post-production facilities will have more flexibility and choice in shaping their digital content creation pipelines.

For more than a decade, the Discreet Flame system¡¯s hallmark speed and creative toolset have set the standard for high-quality digital content creation. The system has helped digital artists realise ideas for hundreds of blockbuster films, television shows, television spots and channel brands. The system gives artists continuous innovation in a fully interactive 3D compositing environment that is packed with advanced creative tools for video, standard-definition (SD) and high-definition (HD) TV and 2K digital cinema post production.

Kevin Tengan, head of 2D systems at Los Angeles-based Rhythm & Hues Studios, said, ¡°With the exception of our IRIX-based Autodesk Discreet systems, Rhythm & Hues Studios is predominantly a Linux shop. We¡¯ve now integrated the new Linux-based version of Discreet Flame into our facility to create a more manageable, homogenous computing environment. The speed of this system is amazing, as is the stability. We¡¯ve already completed three spots with it, one of which involved several client-assisted sessions. Our client was also blown away by the Flame capabilities on the dual-core workstation." Television spots were delivered for both the discount retailer Target Corp. and SeaWorld adventure parks.

Dave Smith, managing director at UK-based post-production facility Absolute, said, ¡°The Discreet Flame system has been a big part of our business. The Flame system running Linux is a turning point for the industry. Autodesk¡¯s use of high-performance, dual-core Linux workstations provides us with more flexible and cost-effective platform choices going forward. The system¡¯s new tools, such as layer-based paint in batch, are great too because they increase our design flexibility.¡±

Autodesk¡¯s Discreet Flint visual effects system and Discreet Smoke editing system are also available on Linux-based workstations, making Autodesk one of the world¡¯s leading providers of digital content creation tools for the Linux operating system.

¡°Autodesk is dedicated to providing our media and entertainment customers with highly optimised Discreet systems that operate on the latest-generation workstations,¡± said Bill Roberts, director of product management for Autodesk¡¯s Media & Entertainment Division. ¡°Dual-core workstations offer fast, interactive performance that empowers digital artists to realise their creative visions faster than ever before; ultimately allowing the facility to be more productive.¡± Dual-core processor technology allows users to execute multiple tasks simultaneously at a faster rate than traditional single-core processor technology.

Autodesk¡¯s Discreet Flame and Discreet Smoke 2K systems are currently available on SGI IRIX-based workstations. Autodesk anticipates that the following Discreet systems will be available on Linux-based workstations this coming January:

Discreet Flame and Discreet Smoke 2K systems.
Discreet Flint high definition (HD) and Smoke HD systems.
Autodesk will showcase a number of the aforementioned Discreet systems this week at the following events:

NAB Post +: Visit the Autodesk booth (# 302) at the Jacob Javits Convention Center in New York City, USA from Nov 15-17, 2005.
International Broadcast Equipment Exhibition (Inter BEE): Visit the Autodesk booth (# 7105) at the Nippon Convention Center in Makuhari Messe, Japan from Nov 16-18, 2005.
Related links:
Autodesk
Discreet Flame

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November 11, 2005

A Show Case

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Omsk. The Coningsby Gallery 2005

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November 10, 2005

OMSK

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The first exhibition in UK. 2005.

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Kite-Fite

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Final Project. KITE-FITE. coming soon.

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November 09, 2005

British Contemporary Unlimited

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Nurses, Remembering 1963. Tracey Emin. 2002. Applique blanket, 289x204cm

Hours: October,28,2003~January,31,2004
Address: 354-1 Shinbu-dong, Cheonan-si, Chungcheongnam-do, Korea
Tel: 041-551-5100~5101

The British contemporary art burst into the world scene in the late 1980s with an exhibition by Damien Hirst, who, then still a student, rented a factory to offer his meticulously planned ¡°Freeze.¡± The exhibition was a turning point for British art that had largely remained stagnant after the pop art movement in the 1950s without being able to produce new trends or noteworthy artists. ¡°Freeze¡± put Britain firmly back on the world map of art, whereupon it began to lead new trends in the contemporary era.
What placed the British at the forefront of international art in the late 80s and early 90s is the fact that they best captured the fin-de-siecle emotions minant at the time, while boldly and freely undertaking new experiments unfettered by restrictidoons imposed by the prevailing art world or artistic discourse. Despite the diversity of works produced at the time, similar themes consistently shone through: inner turmoil at the turn of the century, critical views on human desires and the society, and experimental spirit that rejected an artist¡¯s individuality for new artistic possibilities within variations of traditional art.

Artists and movements that led the trends at the turn of the century have now become a chapter in our history. The British contemporary art will be forever marked in history as an international art trend that gave images to the emotional turbulence at the end of the 20th century and new visions for the 21st century. The 10 artists whose works are shown in this exhibition are some of the major artists who dominated the contemporary British art scene. By exhibiting approximately 30 pieces of their work, Arario Gallery aims to introduce to the Korean public art that is at once most contemporary and most historic.

yBa(young British artists)¶ó ºÒ¸®¸ç 1980³â´ë ÈÄ¹Ý ¿µ±¹ Çö´ë ¹Ì¼úÀÇ »õ·Î¿î È帧À» À̲ø¾ú´ø ÀÛ°¡ Áß µ¥¹Ì¾È Ç㽺Ʈ´Â ÀÇ·á¿ëÀ¸·Î »ç¿ëµÇ´Â Æ÷¸»µ¥ÀÌµå ¿ë¾×¿¡ Àý´ÜµÈ µ¿¹°ÀÇ ½Åü¸¦ ³ÖÀ½À¸·Î½á Ãæ°ÝÀûÀÎ ÀÛÇ°À» ¸¸µç ÀÛ°¡·Î Àß ¾Ë·ÁÁ® ÀÖ´Ù. À̹ø Àü½Ã¿¡ ¼Ò°³µÇ´Â ±×ÀÇ ÀÛÇ° Áß Àº ÀÇÇпë ÀÎü ¸ðµ¨À» °Å´ëÇÑ »çÀÌÁî·Î º¯Çü½ÃŲ ÀÛÇ°À¸·Î ÀÌ¹Ì ¾Æ¶ó¸®¿À °¶·¯·¯ÀÇ ¼ÒÀåÇ°À¸·Î Àß ¾Ë·ÁÁ® ÀÖ´Ù. À̹ø Àü½Ã¸¦ À§ÇØ Æ¯º°È÷ »çµé¿©¿Â Jesus´Â ÀÎü »À´ë¿Í Àü±¸, Àü±â ÀåºñµéÀ» »ç¿ëÇØ ¿¹¼öÀÇ ½ÊÀÚ°¡ÀÇ ¸Þ´Þ¸²À» À¯¸Ó·¯½ºÇÏ°Ô Ç®¾î³½ ÀÛÇ°À¸·Î ¾ð¶æ º¸¾Æ ¹ÝÁ¾±³ÀûÀÎ ÀÌ ÀÛÇ°Àº »î°ú Á×À½ÀÇ °øÁ¸À» ³ªÅ¸³»¸ç ¹Ù´ÏŸ½º(»îÀÇ Çã»ó¼º)¶ó´Â ÀüÅëÀûÀÎ ÁÖÁ¦¸¦ Çö´ëÀûÀ¸·Î Ç®¾î³»°í ÀÖ´Ù.

ÀÚ½ÅÀÇ ¸öÀ» ij½ºÆÃÇÏ°í ¶ÇÇÑ ÀÚ½ÅÀÇ ÇǸ¦ Á÷Á¢ ÀÌ¿ëÇÏ¿© ÀÛÇ°À» Á¦ÀÛÇÏ´Â ¸¶Å© Äý(Marc Quinn)Àº 1991³â ù Self¸¦ Á¦ÀÛÇÏ¿´´Ù. ¾à 8pints(4¸®ÅÍ Á¤µµÀÇ ÇÇ·Î Àΰ£ ¸ö ¼Ó¿¡ µé¾îÀÖ´Â Àüü ÇÇÀÇ ¾ç·Î °ÅÀÇ µ¿ÀÏÇÏ´Ù)ÀÇ ÇǸ¦ »Ì¾Æ Á¦ÀÛÇÑ ÀÌ ÀÛÇ°Àº ³Ãµ¿ Àåºñ¿¡ ÀÇÇؼ­¸¸ÀÌ ±× ÇüŸ¦ À¯ÁöÇÒ ¼ö ÀÖ´Ù. ÀÌ ÀÛÇ°Àº ÀÛ°¡ À°Ã¼ÀÇ ¼ø°£Àû ÇöÁ¸À» ±×´ë·Î º¸Á¸ÇÏ°í ÀÖ´Â ¡®ÀÚÈ­»ó¡¯À¸·Î 1997³â ù Àü½ÃµÇ¾úÀ» ¶§ ¹Ì¼ú°è¿¡ Å« Ãæ°ÝÀ» ÁÖ¾ú´ø ÀÛÇ°À¸·Î ¸¶Å© ÄýÀ» °¡Àå ¸¹ÀÌ ³íÀǵǴ ÀÛ°¡·Î ¸¸µé¾ú´Ù. You take my breath away´Â À°Ã¼°¡ Áö´Ñ Àΰ£ Á¤½ÅÀÇ Ç¥Çö·ÂÀ» Ž±¸ÇÑ´Ù. °íÅë¹Þ´Â ¼ø±³ÀÚ¿Í °°Àº Ç¥Á¤À» ´ã°í ÀÖ´Â ÀÌ ÀÛÇ°¿¡ ¶ÇÇÑ ÀÛ°¡ÀÇ À°Ã¼Àû ÇöÁ¸ÀÌ °¢ÀεǾî ÀÖ´Ù. ÀÌ·¯ÇÑ ÀÛÇ°µéÀ» ÅëÇØ ¸¶Å© ÄýÀº À°Ã¼Àû ÇöÁ¸ ÀÚüÀÇ Á߿伺 º¸´Ù´Â À°Ã¼¶ó´Â Àΰ£ÀÇ ¹°¸®Àû Ãø¸é°ú ±×°¡ Áö´Ñ Á¤½ÅÀû Ãø¸é µÑ »çÀÌÀÇ °ü°è¸¦ ±Ã±ØÀûÀ¸·Î ´Ù·é´Ù. ½Åü Àå¾ÖÀÚÀÇ ½ÇÁ¦ ¸öÀ» ij½ºÆà ÇÔÀ¸·Î½á Á¦ÀÛÇÑ Kiss´Â ¸¶Ä¡ ±×¸®½º ½Ã´ëÀÇ ´ë¸®¼® Á¶°¢°ú °°ÀÌ Àΰ£ ½ÅüÀÇ ¾Æ¸§´Ù¿ò°ú °í±ÍÇÑ Á¤½Å¼ºÀ» Ç¥ÇöÇÑ´Ù. ÇÏÁö¸¸ ±×°ÍÀº Àå¾ÖÀÎÀÇ ½Åü¶ó´Â Á¡¿¡¼­ ÇÏ¿©±Ý ¿ì¸®°¡ ÀÏ»óÀûÀ¸·Î ºñÁ¤»óÀûÀ̶ó »ý°¢Çß´ø Á¸ÀçµéÀÇ ¾Æ¸§´Ù¿òÀ» µå·¯³»´Â ÀÛÇ° ÀÌ´Ù.

°í¹éÀÇ ¿©¿ÕÀ̶ó´Â º°¸íÀÌ ºÙ±â±îÁö ÇÑ Æ®·¹À̽à ¿¡¹Î(Tracey Emin)Àº ÀÚ½ÅÀÇ °³ÀÎÀû °æÇèµéÀ» ÀÛÇ°ÀÇ ÁÖ¿ä ¼ÒÀç·Î »ï´Â´Ù. ±×³à´Â ÀÚ½ÅÀÇ ÀϱâÀå, ÆíÁö, ¸Þ¸ð µî ±×³àÀÌ ÀÚÀüÀû »îÀ» ´ëº¯ÇÒ ¼ö ÀÖ´Â ¸ðµç ±â·Ï¹°µéÀ» ¸ð¾Æ Àü½ÃÇÏ´Â °ÍÀ» Áñ±â¸ç, À̺Ò, ÀÇÀÚ, ÅÙÆ® µî ÀÏ»óÀÇ ¿ÀºêÁ¦¿¡ ±×³à ƯÀ¯ÀÇ Ä«¸®½º¸¶Àû ¼­¼úü·Î ÀÚ½ÅÀÇ »ç¶û, °íÅë, Á¸ÀçÀÇ ¹®Á¦¸¦ »õ°Ü ³Ö´Â´Ù. ÀÌ¿Í °°Àº ÀÛÇ°À» ÅëÇØ Æ®·¹À̽à ¿¡¹ÎÀº »çÀû ¼¼°è¸¦ °ø·ÐÈ­ ½ÃÅ°¸ç ·±´øÀÇ °¡Àå ¸»¸¹Àº ÀÛ°¡°¡ µÇ¾ú´Ù.

97³â º£´Ï½º ºñ¿£³¯·¹¿¡¼­ ¡®À¯¸Áû³âÀÛ°¡»ó¡¯À» ¼ö»óÇϱ⵵ Çß´ø »ù Å×ÀÏ·¯-¿ìµå(Sam Taylor-Wood)´Â »çÁø, ¿µÈ­, ºñµð¿À ¼³Ä¡ µî ¸ðµç ¹Ìµð¾î À帣¸¦ ¸Á¶óÇØ ÀÛ¾÷ÇÑ ÀÛ°¡ÀÌ´Ù. ±Øµµ·Î »çÀûÀÎ °ø°£ ¼Ó¿¡¼­ Ç¥ÇöµÈ ´Ù¾çÇÑ Á¤½ÅÀû »óŸ¦ Çʸ§À̳ª »çÁøÀ¸·Î Ç¥ÇöÇس»´Â »ù Å×ÀÏ·¯-¿ìµå´Â ºÒ¾È°ú ºÒÈ®½Ç¼ºÀÌ Áö¹èÇÏ´Â ÀÏ»ó ¼Ó¿¡¼­ ±×µéÀÇ »î¿¡ Á»´õ ÀÚ±ØÀûÀÌ°í °¡Ä¡ÀÖ´Â Àǹ̸¦ ºÎ¿©ÇØ ÁÙ ¼ö ÀÖ´Â ±× ¹«¾ùÀ» ³»¸éÀûÀ¸·Î °¥±¸ÇÏ´Â ±ÇÅ·οî Çö´ëÀÎÀÇ ¸ð½ÀÀ» ´Ù·é´Ù.

Á¸ ¾ÆÀÌ»è(John Isaacs)Àº ÀÚ½ÅÀÇ ÀÛÇ°¿¡¼­ ¹®¸íºñÆÇÀû ½Ã°¢À» °ßÁöÇÏ¸ç °úÇÐÀÇ ¹ßÀü¿¡ ´ëÇÑ ºñÆÇÀ» ÇÏ°í, °úÇаú ¹Ì¼úÀÇ °áÇÕ ÁöÁ¡À» Àηù ÅðÈ­ÀÇ ¸ð½À¿¡¼­ ¹ß°ßÇÑ´Ù. ±×ÀÇ ÀÛÇ°ÀÌ Àü´ÞÇÏ´Â À̹ÌÁö³ª ºÐÀ§±â´Â ¾î·Á¿î ÀÌ·ÐÀ̳ª °ü³äÀÇ Á¦½Ã¶ó±â º¸´Ù´Â Áï°¢ÀûÀ¸·Î °ü°´À» ¹Ì¹¦ÇÑ ½É¸® »óÅ·ΠºüÁ®µé°Ô ÇÏ°í µµ½Ã³ª Çö´ë ¹®¸í »çȸ¿¡ ¿ªÇÔÀ» ´À³¢°Ô ÇÑ´Ù.

±æ¹öÆ® ¾Ø Á¶Áö(Gilbert & George)´Â ´Ù¸¥ 9¸íÀÇ ÀÛ°¡ Áß °¡Àå ¼±¹è°ÝÀÎ ÀÛ°¡µé·Î¼­ 1970³â´ëºÎÅÍ ÀÌ¹Ì È¹±âÀûÀÎ ÀÛÇ°À¸·Î ³Î¸® ¾Ë·ÁÁ³´Ù. ¿¹¼ú°ú »îÀÇ °æ°è¸¦ Çã¹°°íÀÚ ÇÏ´Â ±×µéÀº ¸ðµç »ç¶÷µéÀÌ Áñ±â·Î ÀÌÇØÇÒ ¼ö ÀÖ´Â ÀÛÇ°À» ¸¸µé°íÀÚ Çϸç, Àΰ£ÀÇ »óÅ¿¡ ÁÖ·Î °ü½ÉÀ» °¡Áø´Ù. »ç°¢ÇüÀÇ ÆгηΠ±¸¼ºµÈ »çÁ÷ ÀÛÇ°ÀÌ Æ¯È÷ ¸¹Àºµ¥, Àü½ÃµÈ ÀÛÇ° Áß Æ¯È÷ Twelves´Â µ¿¼º¾Ö ¹®Á¦¸¦ ´Ù·ëÀ¸·Î½á ÁÖ·ù »çȸ ¼Ó¿¡¼­ °¡·ÁÁ® ÀÖ´ø ºñÁÖ·ùÀÇ ¹®È­¸¦ ´Ù·é´Ù.

°Ôºó ÅÍÅ©(Gavin Turk)´Â ¿¹¼ú Á¦µµ¿Í ¿¹¼ú°¡¶ó´Â Á¸ÀçÀÇ ¸í¼º¿¡ °üÇÑ ³¯Ä«·Î¿î ºñÆÇÀ» º¸¿©ÁÖ´Â ÀÛ¾÷À» ÇÑ´Ù. ±×´Â ¿ÜºÎ ¼¼°è·ÎºÎÅÍ ¼ÒÀ縦 °¡Á®¿Í ÀÛ¾÷ÇÑ ÀÛ°¡µéÀÇ ÀÛÇ°À» Æз¯µðÇÏ´Â ÀÛ¾÷À» ÅëÇØ ÀÛ°¡ÀÇ µ¶Ã¢¼ºÀ» °ÅºÎÇÑ´Ù. À̹ø Àü½Ã¿¡¼­´Â ¸¶Ä¡ ºÎ¶ûÀÚ¿Í °°Àº ¸ð½ÀÀÇ ÀÚÈ­»ó Another BumÀ» Àü½ÃÇÔÀ¸·Î½á ÀÛ°¡ÀÇ ¸í¼º¿¡ ´ëÇÑ µµÀüÀ» ÇÏ¸ç ¿¹¼ú°¡ÀÇ ¸í¼ºÀ̶õ ¿ÀÁ÷ À̸§ ¼Ó¿¡¼­¸¸ Á¸ÀçÇÏ´Â °ÍÀÓÀ» °­ÇÏ°Ô ¾îÇÊÇÑ´Ù.

¿µ±¹ Çö´ë¹Ì¼úÀÇ ¶Ç ÇϳªÀÇ Æ¯Â¡ÀÌ À帣ÀÇ ´Ù¾çÇÔ ¼Ó¿¡¼­µµ ¿©ÀüÈ÷ ȸȭ°¡ ±× ÈûÀ» ÀÒÁö ¾Ê°í Áö¼ÓµÇ°í ÀÖ´Ù´Â Á¡À» °í·ÁÇÒ ¶§, °Ô¸® Èâ(Gary Jumn)Àº ȸȭ ¿µ¿ª¿¡¼­ ÀÛ¾÷ÇÏ¸ç °¡Àå ¾Õ¼­°¡´Â ÀÛ°¡µé Áß ÇѸíÀ¸·Î ÀÎÁ¤¹Þ´Â ÀÛ°¡ ÀÌ´Ù. °Ô¸® ÈâÀº ±×ÀÇ È¸È­ ÀÛÇ°¿¡¼­ ¾î¶² À̾߱⠱¸Á¶³ª ³í¸®¸¦ Ž±¸ÇÏ´Â °ÍÀÌ ¾Æ´Ñ ±âÁ¸ ¹Ì¼ú»ç¸¦ ±¸¼ºÇØ ¿Â ¿ä¼ÒµéÀ» Àç¹èÄ¡ÇÔÀ¸·Î½á °¢°¢ÀÇ ¿ä¼ÒµéÀÌ °íÀ¯ÇÏ°Ô °®°í ÀÖ´ø Àǹ̸¦ ¾àÈ­½ÃÅ°°Å³ª ºÎÁ¤Çعö¸®´Â ¹æ¹ýÀ» ÃëÇÑ´Ù. ±× °á°ú ÀÛ¾÷Àº ÀǹÌÀÇ ¸ðÈ£¼º°ú´Â »ó¹ÝµÇ°Ô °­ÇÑ ½Ã°¢ÀûÀÎ ÈûÀ» °¡Áø ¾Æ¸§´Ù¿î Àå½Ä ȸȭ°¡ µÇ´Â ¾ÆÀÌ·¯´Ï¸¦ º¸¿©ÁØ´Ù.

¾ÈÅä´Ï °õ¸®(Antony Gormley)´Â ÀÚ½ÅÀÇ ¸öÀ» Á÷Á¢ ij½ºÆÃÇÑ ÀÛ¾÷À» ÇÑ´Ù. ÀÚ½ÅÀÇ ½Åü¸¦ ij½ºÆà ÇÑ ÈÄ ÀÚ¼¼ÇÑ ¸ð½ÀÀÌ »õ°ÜÁ® ÀÖ´Â ³»ºÎ¸¦ ½Ã°¢È­ ½ÃÅ°±â º¸´Ù´Â ±×°ÍÀ» °¨½Î°í ÀÖ´Â ¿ÜºÎÀÇ ¸ð½ÀÀ» »ç¶÷µéÀÌ ¸¸³ª°Ô ÇÑ´Ù. ÀÌ¿Í °°Àº ÀÛÇ°À» ÅëÇØ °õ¸®´Â ³»ºÎ¿Í ¿ÜºÎÀÇ °øÁ¸À» Ž±¸ÇÏ°í Á¸ÀçÇÏÁö ¾Ê´Â ½ÅüÀÇ Á¸À縦 Ž±¸ ÇÑ´Ù. ¶ÇÇÑ ±×´Â ÀÚ½ÅÀÇ ÀÛÇ°ÀÌ ±×°ÍÀÌ ³õ¿© ÀÖ´Â °ø°£ ÀÚü¿Í °¡Áö´Â »óÈ£ °ü°è¿¡ ¸¹Àº °ü½ÉÀ» °¡Áö¸é¼­ Reflection°ú °°Àº ÀÛÇ°À» Á¦ÀÛÇÑ´Ù.

Á¦ÀÌÅ© ¾Ø µð³ë½º äÇÁ¸¸ ÇüÁ¦(Jake and Dinos Chapman Brothers)´Â ÇÁ¶õ¼¼½ºÄÚ °í¾ßÀÇ ¿¡Äª ÀÛ¾÷À» 3Â÷¿ø ÀÛ¾÷À¸·Î ÀçÇöÇس½ ÀÛÇ°À¸·Î ÁÖ¸ñ¹Þ±â ½ÃÀÛÇß´Ù. À̹ø Àü½Ã¿¡ ¼±º¸ÀÌ´Â UntitlableÀº µ¶ÀÏ ³ªÂîÀÇ Àΰ£ »ì»óÀ» ÁÖÁ¦·Î ÇÑ ÀÛÇ°À¸·Î Àý´ÜµÈ ½Åüµé°ú ±âÀÌÇÏ°Ô º¯ÇüµÇ¾î ȯ»ýÇÑ ¾Ç¸¶Àû »ìÀα͵éÀÇ ¸ð½ÀÀ» ÀÛÀº ÀÎÇü »çÀÌÁî·Î Á¦ÀÛÇÑ ÀÛÇ°ÀÌ´Ù. ÀÌ¿Í °°Àº ÀÛÇ°À» ÅëÇØ ±×µéÀº Àΰ£¿¡°Ô ³»Á¦µÇ¾î ÀÖ´Â ¿å¸Á°ú ÀܾÇÇÔ°ú ±×¸®°í Æø·Â¼ºÀ» ´Ù·ç¸ç, Çö´ë »çȸ ¼Ó¿¡¼­ ±×¿Í °°Àº °ÍµéÀÌ ¾Æ¹« °Å¸®³¦ ¾øÀÌ »ó¾÷È­ µÇ´Â Çö½ÇÀ» ²¿Áý´Â´Ù.

Ãâó: http://www.arariogallery.co.kr/exhibition/ex02_01.jsp

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November 08, 2005

About me

Name: WOO JIN JEON
Location: Kingston Upon Thames : United Kingdom

Flat 7, Boundary Close
Kingston Upon Thames
KT1 3PE
07984 743 281

Mobile Phone: +44-7984-743-281 (UK: 07984-743-281)

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November 05, 2005

Blood

Ç÷¾×Çü¿¡ ¸ñ¼û °Ç »ç¶÷µéÀÌ ÀÇ¿Ü·Î ¸¹±¸³ª.
¸¸µå´Â ³ðµéÀ̳ª, ¸ñ¿¡¼­ ÇÇ ÅäÇϸ鼭 ¾Æ´Ï¶ó°í ÇÏ´Â ³ðµéÀ̳ª.
ÀÌ·¯´Ï Á¤Ä¡ÆÇÀÌ Àß µ¹¾Æ°¡Áö.
¤»¤» ±×·¡µµ Àç¹Õ´Â °É ¾î¶»°Ô ÇØ. ±×¸®°í ´ç½ÅÀº Á¡ ¾ÈºÁ? ´Ù ¶È°°¾î.

°ü·Ã ±â»çµé ¸µÅ© 1
°ü·Ã ±â»çµé ¸µÅ© 2

ÀÌ·¯¸é "¿ª½Ã AB ÇüÀ̽ñº¿ä." "³×. ±×·¸½À´Ï´Ù"

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Reality

Gunpowder plotters get their wish, 400 years on By Adam Sherwin

TV re-creation makes the Guy Fawkes dream come true

IT IS what Guy Fawkes would have wanted. Four centuries after the most famous non-explosion in history, a documentary team has spent £1 million blowing up a replica Parliament.
ITV1 staged the pyrotechnics to see what would have happened if Fawkes and his fellow Roman Catholic conspirators had evaded detection and the Gunpowder Plot had succeeded.

Explosives experts built a full-size replica of the then Palace of Westminster on an MoD-owned testing site in Cumbria and packed 36 barrels with a tonne of gunpowder.

The results suggest that the impact of the blast would indeed have wiped out Britain¡¯s elite if Fawkes had ignited the fuse 400 years ago this week.

Historians have previously suggested that the attempt would have failed. An examination of the gunpowder seized when the plot was discovered showed that it had decayed because of a month¡¯s delay caused by plague before the 1605 State Opening of Parliament.

Working with blast consultants from engineering giant Arup, the producers of The Gunpowder Plot: Exploding the Legend sourced gunpowder closest to Fawkes¡¯s compounds of saltpetre, charcoal and sulphur from a factory in Spain. Using 650 tonnes of concrete and based on archive plans, the undercroft where the gunpowder was hidden was recreated and the full Lords chamber built above. It was packed with perishable cameras, sensors and crash-test dummies to represent King James I and the 150 bishops, members of Parliament and noblemen present. A spectacular explosion ensued.

Unlike Fawkes, who planned to ignite the gunpowder with a cotton rope boiled in saltpetre, the ITV team pressed a red button in a control room connected by cable to the replica 750m (2,461ft) away.

The result, screened tomorrow, claims to prove that Fawkes¡¯s plot would have propelled the timber floor of the Lords upwards with such violence that King James I and everyone else in the chamber would have been killed.

Arup, the engineering company that carried out the explosion for the show, said: ¡°Any of the other physical effects of the explosion, such as direct blast pressure, scorching, impact of high-speed timber fragments and the impact of falling back down to the ground could also have killed many, if not all, of those present. But the extreme upward thrust would have been the primary cause of death.¡±

Tests carried out by Sidney Alford, the programme¡¯s explosives consultant, showed that decayed powder does explode.

If Fawkes had lit the fuse, the powder would have blown — and he had twice the powder needed to destroy Parliament utterly.

Contrary to previous claims, the blast would have been relatively contained, with Parliament¡¯s 1.8m-thick stone walls directing much of the pressure of the blast upwards.

The debris from the roof and floor of the chamber blown upwards would have rained down in a 200m radius. Experts also concluded that the blast could have been heard at least five miles away.

David Hadden, Arup¡¯s blast consultant, said: ¡°After years of speculation, the test has proved once and for all that Fawkes¡¯ plan would have had devastating consequences for anyone present in the House of Lords that day, though not for the surrounding areas as previously thought.¡±



The Gunpowder Plot: Exploding the Legend — tomorrow, ITV1, 9.45pm

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November 01, 2005

Influx

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The School of Design MA Show 2005 is being held at the Bankside Gallery. London
From 30 November - 4 December 2005.

This will provide an opportunity to see the work produced by our students. Further details about the show will be posted here soon...

Summer Time ÀÌ ³¡³ª°í, Çѱ¹°ú´Â ´Ù½Ã 8½Ã°£ Â÷ÀÌ°¡ ³³´Ï´Ù.

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