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Take up the White Man’s burden—

Send forth the best ye breed—

Go send your sons to exile

To serve your captives’ need

To wait in heavy harness

On fluttered folk and wild—

Your new-caught, sullen peoples,

Half devil and half child

Take up the White Man’s burden

In patience to abide

To veil the threat of terror

And check the show of pride;

By open speech and simple

An hundred times made plain

To seek another’s profit

And work another’s gain

Take up the White Man’s burden—

And reap his old reward:

The blame of those ye better

The hate of those ye guard—

The cry of hosts ye humour

(Ah slowly) to the light:

“Why brought ye us from bondage,

“Our loved Egyptian night?”

Take up the White Man’s burden-

Have done with childish days-

The lightly proffered laurel,

The easy, ungrudged praise.

Comes now, to search your manhood

Through all the thankless years,

Cold-edged with dear-bought wisdom,

The judgment of your peers!

— Rudyard Kipling, “The White Man’s Burden: The United States & The Philippine Islands, 1899.” Rudyard Kipling’s Verse: Definitive Edition (Garden City, New York: Doubleday, 1929).
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[Flash 10 is required to watch video]
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This 24-frame, circular walk-through shows how the figures deform in relation to Barton Creek and respond to the surrounding topography. The figures, each constructed from a frontal 3-D scan of an actual person, face towards the generalized flow of the Edwards Aquifer towards the Colorado River. The grid of figures is centered on and follows the viewer.
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This 12-frame walk-through shows how the figures deform in relation to Barton Creek and respond to the surrounding topography. The figures, each constructed from a frontal 3-D scan of an actual person, face towards the generalized flow of the Edwards Aquifer towards the Colorado River. The grid of figures is centered on and follows the viewer.
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This is my first attempt at a GIF animation of my project.
The viewer remains stationary as the grid cells scale from 6 feet to 12 feet to 24 feet to 48 feet to 96 feet, showing how the figures deform in relation to the creek banks and to the surrounding topography.
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representational vs. participatory

communion

empathy

gaze

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Today’s exemplary mixed reality situations—interrupting a meeting to get data from a digital database, comparing a two-dimensional architectural drawing with a real-time three-dimensional visualization, ACQUIRING AN IMAGE OF ONESELF THROUGH THE SOCIAL PROSTHESIS OF COMMON SENSE THAT IS CONTEMPORARY TELEVISION—all have as their condition the abandonment of the dream of total immersion, i.e., the representationalist form of verisimilitude.

— Mark B. N. Hansen, Introduction to Bodies in Code
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6 Times, a sculptural project by the celebrated British artist Antony Gormley and commissioned by the National Galleries of Scotland, comprises six life-size figures positioned between the Scottish National Gallery of Modern Art and the sea. Four of the figures are sited in the Water of Leith, acting as gauges for the height of the river as it swells and recedes. This is the first time that a work in the National Galleries collection has been permanently located across the city of Edinburgh itself.
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Eating the body of Christ is to be filled with the spirit; in this sacrament the body is both actual flesh and a spiritual sign. The spiritual moment is symbolized by the most carnal act. When we commune with God by eating his son, we participate through a literal enactment, an extreme empathy — hence why it is called communion. AND THEREIN LIES A CONNECTION WITH THE WAY GORMLEY’S ART WORKS. His sculpture is not representational, or at least it is not to be read as mimetic. It is providing the house or space for an act of communion.

— Anthony Bond, “Inside Antony Gormley”
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I think of them as uninscribed objects; they don’t memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.

— http://www.antonygormley.com/sculpture/item-view/id/251#p0
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