The document discusses creating a virtual heritage site based on Seth's fictional Canadian town of Dominion City from his comics. It analyzes how Seth represents the town through multiple iterations over time in the comics versus his cardboard models that lack narrative. The proposed website would allow users to manipulate and tag objects from Dominion City across different media, encouraging new connections and narratives rather than a linear tour. This emphasizes personal engagement with the ephemera of the site's past over rigidly preserving its physical architecture.
A series of arguments about the possibility (and convenience) to approach architecture theory as a form of storytelling, and as a consequence, architecture as a collection of narratives.
A series of arguments about the possibility (and convenience) to approach architecture theory as a form of storytelling, and as a consequence, architecture as a collection of narratives.
La innovación y el crecimiento empresariales en grandes empresas.Alberto Peralta
¿Cómo innovan las grandes empresas y desarrollan su crecimiento a partir de un modelo de negocio de éxito? ¿Se ha preguntado alguna vez si su planteamiento estratégico podría llevarles a una mejor posición y a ritmos con los que sea muy difícil competir?
The Patient-Centered Clinical Trial: A New ParadigmJohn Reites
Patient centricity is no longer just viewed as an opportunity
solely for commercial pharma. In September 2014,
eyeforpharma brought together 100 US clinical leaders
to discuss the evolving role of patients in clinical trials.
The executive forum addressed the latest trends and
innovations in clinical trial management from a patientcentric
perspective, but it was the presence and involvement
of several patients and patient advocates that shaped the
discussion and expanded our thinking on the topic. Beyond
debating various practical questions, delegates from
pharma began to wonder how the necessary changes might
materialize under the organizational lens.
Sculpture in the Expanded FieldAuthor(s) Rosalind KraussS.docxkenjordan97598
Sculpture in the Expanded Field
Author(s): Rosalind Krauss
Source: October, Vol. 8 (Spring, 1979), pp. 30-44
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/778224
Accessed: 14/01/2009 15:16
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless
you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you
may use content in the JSTOR archive only for your personal, non-commercial use.
Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at
http://www.jstor.org/action/showPublisher?publisherCode=mitpress.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed
page of such transmission.
JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the
scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that
promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]
The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October.
http://www.jstor.org
http://www.jstor.org/stable/778224?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/action/showPublisher?publisherCode=mitpress
Mary Miss. Perimeters/Pavillions/Decoys. 1978.
(Nassau County, Long Island, New York.)
Sculpture in the Expanded Field
ROSALIND KRAUSS
Toward the center of the field there is a slight mound, a swelling in the earth,
which is the only warning given for the presence of the work. Closer to it, the large
square face of the pit can be seen, as can the ends of the ladder that is needed to
descend into the excavation. The work itself is thus entirely below grade: half
atrium, half tunnel, the boundary between outside and in, a delicate structure of
wooden posts and beams. The work, Perimeters/Pavilions/Decoys, 1978, by Mary
Miss, is of course a sculpture or, more precisely, an earthwork.
Over the last ten years rather surprising things have come to be called
sculpture: narrow corridors with TV monitors at the ends; large photographs
documenting country hikes; mirrors placed at strange angles in ordinary rooms;
temporary lines cut into the floor of the desert. Nothing, it would seem, could
possibly give to such a motley of effort the right to lay claim to whatever one
might mean by the category of sculpture. Unless, that is, the category can be made
to become almost infinitely malleable.
The critical operations that have accompanied postwar American art have
largely worked in the service of this manipulation. In .
City Games: Up and Down and Sideways on the Ladder of AbstractionSebastian Deterding
Like games and everyday life, games and cities have been intersecting in two primary ways: modelling the city in an abstract view from above, with planning games and urban simulations, and transforming people's everyday urban experiences and behaviors with playful interventions on the ground. Neither one, this talk argues, has been particularly successful in creating lasting improvements in citizen's well being. To accomplish this, we need to take game design seriously and look sideways at the messy middle between map and territory, the processes in which one is translated into the other (or not). My keynote at ISAGA 2017 in Delft, NL, July 10, 2017.
The paper tries to evaluate today’s architecture as part of a ‘star system’ where originality is the main purpose of the architectural object. Upon this it is tried to create a theory based in the loss of part of the individuality of the architect in order to achieve a greater result based upon the coherence of a whole built system: a city, a village, a street, etc. The recognition of a place’s Signs is part of that process, not with the intent of copying the surrounding reality, but to interpret its main features. The resulting depurative process will obliterate those Signs that already have lost their meaning and do not contribute to the recognition of a site’s architecture, to an appreciation that evolves from the large scale observation of the landscape to the detail in architecture. Coherence is therefore the main purpose of the process, whether it’s applied to a historical context, a popular urban settlement or a contemporary neighbourhood.
La innovación y el crecimiento empresariales en grandes empresas.Alberto Peralta
¿Cómo innovan las grandes empresas y desarrollan su crecimiento a partir de un modelo de negocio de éxito? ¿Se ha preguntado alguna vez si su planteamiento estratégico podría llevarles a una mejor posición y a ritmos con los que sea muy difícil competir?
The Patient-Centered Clinical Trial: A New ParadigmJohn Reites
Patient centricity is no longer just viewed as an opportunity
solely for commercial pharma. In September 2014,
eyeforpharma brought together 100 US clinical leaders
to discuss the evolving role of patients in clinical trials.
The executive forum addressed the latest trends and
innovations in clinical trial management from a patientcentric
perspective, but it was the presence and involvement
of several patients and patient advocates that shaped the
discussion and expanded our thinking on the topic. Beyond
debating various practical questions, delegates from
pharma began to wonder how the necessary changes might
materialize under the organizational lens.
Sculpture in the Expanded FieldAuthor(s) Rosalind KraussS.docxkenjordan97598
Sculpture in the Expanded Field
Author(s): Rosalind Krauss
Source: October, Vol. 8 (Spring, 1979), pp. 30-44
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/778224
Accessed: 14/01/2009 15:16
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless
you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you
may use content in the JSTOR archive only for your personal, non-commercial use.
Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at
http://www.jstor.org/action/showPublisher?publisherCode=mitpress.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed
page of such transmission.
JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the
scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that
promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]
The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October.
http://www.jstor.org
http://www.jstor.org/stable/778224?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/action/showPublisher?publisherCode=mitpress
Mary Miss. Perimeters/Pavillions/Decoys. 1978.
(Nassau County, Long Island, New York.)
Sculpture in the Expanded Field
ROSALIND KRAUSS
Toward the center of the field there is a slight mound, a swelling in the earth,
which is the only warning given for the presence of the work. Closer to it, the large
square face of the pit can be seen, as can the ends of the ladder that is needed to
descend into the excavation. The work itself is thus entirely below grade: half
atrium, half tunnel, the boundary between outside and in, a delicate structure of
wooden posts and beams. The work, Perimeters/Pavilions/Decoys, 1978, by Mary
Miss, is of course a sculpture or, more precisely, an earthwork.
Over the last ten years rather surprising things have come to be called
sculpture: narrow corridors with TV monitors at the ends; large photographs
documenting country hikes; mirrors placed at strange angles in ordinary rooms;
temporary lines cut into the floor of the desert. Nothing, it would seem, could
possibly give to such a motley of effort the right to lay claim to whatever one
might mean by the category of sculpture. Unless, that is, the category can be made
to become almost infinitely malleable.
The critical operations that have accompanied postwar American art have
largely worked in the service of this manipulation. In .
City Games: Up and Down and Sideways on the Ladder of AbstractionSebastian Deterding
Like games and everyday life, games and cities have been intersecting in two primary ways: modelling the city in an abstract view from above, with planning games and urban simulations, and transforming people's everyday urban experiences and behaviors with playful interventions on the ground. Neither one, this talk argues, has been particularly successful in creating lasting improvements in citizen's well being. To accomplish this, we need to take game design seriously and look sideways at the messy middle between map and territory, the processes in which one is translated into the other (or not). My keynote at ISAGA 2017 in Delft, NL, July 10, 2017.
The paper tries to evaluate today’s architecture as part of a ‘star system’ where originality is the main purpose of the architectural object. Upon this it is tried to create a theory based in the loss of part of the individuality of the architect in order to achieve a greater result based upon the coherence of a whole built system: a city, a village, a street, etc. The recognition of a place’s Signs is part of that process, not with the intent of copying the surrounding reality, but to interpret its main features. The resulting depurative process will obliterate those Signs that already have lost their meaning and do not contribute to the recognition of a site’s architecture, to an appreciation that evolves from the large scale observation of the landscape to the detail in architecture. Coherence is therefore the main purpose of the process, whether it’s applied to a historical context, a popular urban settlement or a contemporary neighbourhood.
What we have to say has always been intimately intertwined with how we say it. Design is about communicating those ideas and influencing users’ behavior, so it follows that influence is imparted largely by how we design. For all our intellectual complexity, our brains are still wired to make near-instant judgements about the value and importance of the message we are receiving based on how that message appears.
Thankfully, most of us are still familiar enough with actual books to remember the feel of paper under our fingers, the smell of the ink, the elegant transitions from one idea to the next – all in service of the story. While pixels remain odorless, there’s much more we can do than just deliver a digital message. Practiced typography transforms that message into a compelling experience. Let’s take a journey forward through time and see where typography can take us.
We'll look at examples of ways type has been used to impact user experience throughout history, and how typography has evolved to work with varying screens and content. It's a fundamental change in what it means to practice typography, and critical to understand how it impacts how we design. We'll also explore a few of the technical considerations and capabilities available to help create better typographic systems that will work well into the future.
A 52-page portfolio book showcasing a sample of the work designed for clients, DC Comics, Young Minds Inspired, Enigma Books and Comic-Con International.
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
exponentially in recent years. It will grow from
$21.92 billion in 2023 to $28.11 billion in 2024 at a
compound annual growth rate (CAGR) of 28.2%. The
teleprotection market size is expected to see
exponential growth in the next few years. It will grow
to $70.77 billion in 2028 at a compound annual
growth rate (CAGR) of 26.0%.
Barbie Movie Review - The Astras.pdffffftheastras43
Barbie Movie Review has gotten brilliant surveys for its fun and creative story. Coordinated by Greta Gerwig, it stars Margot Robbie as Barbie and Ryan Gosling as Insight. Critics adore its perky humor, dynamic visuals, and intelligent take on the notorious doll's world. It's lauded for being engaging for both kids and grown-ups. The Astras profoundly prescribes observing the Barbie Review for a delightful and colorful cinematic involvement.https://theastras.com/hca-member-gradebooks/hca-gradebook-barbie/
Experience the thrill of Progressive Puzzle Adventures, like Scavenger Hunt Games and Escape Room Activities combined Solve Treasure Hunt Puzzles online.
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
_7 OTT App Builders to Support the Development of Your Video Applications_.pdfMega P
Due to their ability to produce engaging content more quickly, over-the-top (OTT) app builders have made the process of creating video applications more accessible. The invitation to explore these platforms emphasizes how over-the-top (OTT) applications hold the potential to transform digital entertainment.
Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspirationgreendigital
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
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Unveiling Paul Haggis Shaping Cinema Through Diversity. .pdfkenid14983
Paul Haggis is undoubtedly a visionary filmmaker whose work has not only shaped cinema but has also pushed boundaries when it comes to diversity and representation within the industry. From his thought-provoking scripts to his engaging directorial style, Haggis has become a prominent figure in the world of film.
2. Intro 1
Our paper is about our construction of a web archive out of
Canadian comic book artist Seth's imaginary Canadian
town Dominion City.
We wanted to take advantage of the form of Seth's
comics and their theme--the decay and loss of buildings
and urban spaces--to create a virtual heritage site that
would have some advantages over real heritage sites.
These advantages reveal themselves as we contrast
Seth's comics with his cardboard model version of
Dominion, which ends up being a fixed empty shell that
lacks the temporal dimension of the comics.
3. Intro 2
Seth's decision to "build" DC out of cardboard models,
shows the problem of fixing structures in space, which is
that the anxiety over material preservation leads to stasis
and death.
We think the problem with cardboard Dominion is
similar to that of many "real" heritage sites: they try to
materialize and make permanent something that was never
so in the first place: the spirit(s) of the past inhabiting the
spaces.
Meanwhile, the comic book version and our web archive
of it allow what architect Michael McClelland calls the
"ghost functions of the past" to circulate in the present.
4. Archives and Architecture
Because of the way they use space (the grid of panels and
drawings) and time (the variable sequence of panels and
drawings) comics provide an ideal structure for multiple
iterations of buildings and spaces.
The structure of the comics page is like a grid of
compartments to store images: like these perfume bottles.
But also a grid of rooms or windows stacked on top of each
other like floors.
This structural affinity between comics and both storage
containers and buildings perhaps explains why urban
preservation is such a popular theme of comics artists like
Seth.
5. Archives and Architecture 2
But because comics are generally disposable artifacts,
printed on cheap paper, their ability to preserve buildings
and urban spaces can only be ironic: comics are
ephemeral, they don't last.
So there's something odd about trying to preserve
something more permanent (buildings and streets) with
something less permanent (drawings on paper). But this
oddness resolves when we consider that comics artists like
Seth are in fact demonstrating the ephemerality of the
buildings and spaces themselves: they don't last either.
6. Icon and Caricature(Paint
Shop) 1
In the drawings within the grid, comics represent by a
combination of icon (general outlines) and caricature
(immediately identifying details).
Take for example this out of business paint shop in
Toronto from Seth's It's a Good Life if You Don't Weaken.
We see the outline of the paint shop and a few identifying
features. These features help evoke others that Seth
mentions but doesn't depict visually: wood shelves, tile
floors, tin ceilings. This is a bit of a trick. If we recognize the
iconic and caricaturistic features of the building, we fill in
the features with our minds' eye.
7. Icon and Caricature 2
With this trick, Seth shows that the cartoon image cannot
physically capture architectural details; it can only trigger
them through mnemonic clues: we are always only getting
the tip of the iceberg
Clearly, comics cannot "preserve" the materiality of
what they represent, but they can evoke that materiality
through associative triggers, like a map evokes the territory
it represents.
When we combine the grid of the comic book page with
drawings within that grid, we have an architectural archive
of mnemonic triggers that can sustain heritage through the
engagement of its viewers.
8. George Sprott 1
We applied web technology to notions of the grid and the
cartoon in Dominion City as Seth represents it in his story
George Sprott, which is as much about the buildings of the
city as it is about the title character, a radio host who grows
increasingly out of touch with the present.
The stories of the buildings show their multiple
iterations, their narratives that resist being frozen at any
particular point. For example, the Melody Grill begins as
Der Hirschsprung, German restaurant in the 1930s,
becomes a local celebrity hotspot in the 1950s and dies as
a cheap lunch spot in the 1980s.
9. George Sprott 2
Seth tells similar stories of the Radio Hotel and Coronet
Lecture Theatre, and they all have similar trajectories: an
origin, a vibrant heyday, and decay.
We believe these trajectories lead Seth to "build"
Dominion out of cardboard because the narratives of
buildings have a fatalistic entropic pattern: Seth only sees
buildings declining and failing, never being revived or
replaced by something new and exciting.
Seth would like to preserve these buildings at their peak
rather than show their decline over and over. We think that
this desire in Seth mirrors that of heritage preservationists
10. Dominion City
Seth originally build the models to get a better idea of how
to situate his stories, but the stories never came. Instead he
became obsessed with collecting buildings, putting them in
amber and saving them from the wrecking ball.
While our first impulse was to celebrate cardboard
Dominion as the ultimate iteration of the imaginary town,
We ultimately found the loss of temporality and the loss of
narrative that accompanies it, kills the past in order to
preserve it.
The 3D materialization of Dominion turns out to be an
inadequate container for the ghosts of the past.
11. Return to Comics
Our web project re-introduces time and narrative while
"preserving," albeit virtually, the various iterations of
buildings and urban spaces. We take the panels of the
comics grid and stack them in virtual space so viewers can
move up and down from past to present, while also moving
across and around the city.
Consequently, we hope that it provides model for a
vibrant, interactive archive that shows the full range of
history rather than an empty shell that freezes structures in
a particular historical moment.
12. DAVE - The Website
The website allows the audience to think
through and play with Seth's comic. Taking the
layering possibilities of a web-based platform
as its starting point, the interactive archive of
Seth's numerous iterations of Dominion City
becomes something that users can manipulate.
We think this concept should be extended into
the heritage site.
13. Website 2
The interactive space of the web is a great
platform for engaging users by allowing them to
build their own narratives by manipulating the
objects of Seth's Dominion City, and by
extension, the heritage site it represents.
Dominion City can be reimagined and
reinterpreted across all its iterations, allowing
the reader to create a topographical history of
Dominion City.
14. Tagging / Topography
Adding interactivity to Seth's representation of
Dominion City allows the user to build a
topography, or graphic representation of
surface features and something that shows the
relationship between these features.
Interactivity also means taking advantage of
the "web's web"; tagging, organizing, and
marking up objects becomes a central mode of
presenting and archiving materials.
15. Tagging 2 - No Walk Thru
The website links the structure of the comic's
panels and the narrative's numerous entry
points to allow the user to manipulate the
objects of Dominion City.
Rather than emphasize the virtual
reconstruction of an architectural space, as
most virtual heritage sites do, this website
encourages the user to manipulate those
objects to explore new narrative linkages.
16. No Walk Thru, Baby
In other virtual heritage sites, the user is locked
within the prescriptive organization of an archive
that reveals objects one at a time in a sequence.
Doing so de-emphasizes the connectedness that
gives those objects meaning.
Comics and the website allow for some
alternatives for the combining, layering and
juxtaposing of archival materials, or objects.
17. The Connections
Within comics and the website, there can be
multiple paths through sequences. Connections
turn back on one another, criss-cross different
objects, and resist a linear path.
By making Dominion City into an archive of
objects, a virtual storehouse of ephemera, files,
and media, the website encourages the kind of
user / site exchange we think enriches an
encounter with historical buildings, districts and
narratives.
18. Connections 2
The user can link together or "tag" in a variety
of ways:
1) showing the links between different iterations
of the melody grill and the individuals
connected to it: (missing note above door
shows time passing / George Sprott young &
old / Sir Grisly Gruesome's pic on the wall /
Otto Klug's opening night)
19. Connections 3
These connections transcend the original
organization of the comic, emphasizing other
temporal dimensions and iconic connections.
2) Linkages within the website also encourage
connections between the world of the fiction--
Seth's comic about George Sprott--and the
material representation of it:
showing the different iterations of the Melody
Grill or The Radio Hotel.
20. Connections 4
While still locked within the static mode of
pictures and cardboard, the linkages here
nonetheless give some purpose to Seth's
cardboard city.
3) Taken a step further, the user can link the
two previous "tagging sessions" together:
showing both the relationships in the comic and
also the character's direct relationship to an
object whose materiality exists outside the
bounds of the story.
21. Connections 5
4) Where the website accels however is in
fostering connections between different media
and the different modes for understanding the
comic:
showing how an author contextualizes his
project in an audio interview, featuring the
ephemera of its creation (drafting), and its
numerous iterations. In this case, cardboard
and paper / 2D and 3D.
22. The Connections 6
A user's encounter with Seth's George Sprott
through the website is enriched not simply by the
juxtaposition of images and virtual architecture.
Instead, the website leverages its architecture of
connectivity and interactivity to facilitate the user's
reconstruction of Dominion City and emphasize the
relationships between the ephemeral objects within
it.
23. Connections 7
The user's engagement with Dominion City is
not governed by a linear sequence, a virtual
tour, 360 degree view, or vignette.
Instead, it is governed by how the user
chooses to engage with the objects, or
ephemera, that make up Dominion City's
architectural spaces and its larger role in
shaping the narrative connections in Seth's
comics.
24. Connections 8
1) The user can seek out different perspectives
on a static map, exploring the different
connections or paths through Dominion City.
2) The connections and paths can then in turn
be "tagged" with relevant contextual
information, data, and explanation.
3) Connections and paths offer different
perspectives, set off sets of images or direct
users to other spaces in the archive.
25. The Facebookishness
The user then makes the heritage site mean
something rather than engage with a pre-
existing expository narrative about it.
What makes the website for Dominion City
even more interactive is its foregrounding of
exchange. Users are given spaces to "tag,"
"comment" and record data about their
experience with Dominion City as virtual
heritage site.
26. The Twitterishness
The user can present their record of discovery
by tagging the objects according to their
sequential desires. Or, they can contribute to
an ongoing dialogue about the materials in the
archive by commenting. Or, they can add their
own relevant media. The result is a record of
the uniquely personal encounter with the
ephemera of Dominion City.
27. Heritage Site as Comics
Makers
Through their engagement with this virtual
archive, users participate in the same kind
fictional heritage reconstruction that drives Seth
to represent Dominion City in different media.
The website however emphasizes the layering
of icon and caricature that is the domain of
comics, encouraging objects to coalesce into a
unified narrative.
28. The Open Box
Individual objects become part of the heritage
district archive as Dominion City takes shape
for the user through their manipulation of the
objects in its archive.
Allowing users to engage with these objects is
key to conveying a sense of a lost past and
allowing the user to animate the "ghost
function" and give Dominion City meaning
beyond the empty materialism of a three
dimensional cardboard model.
29. The Empty Box
If we take the user's ability to manipulate the
archival objects or disallow their personal
engagement with them, we leave only buildings as
cold and empty as the cardboard box from which
Seth builds his material Dominion City.
30. Conclusion - Obscured
What a virtual heritage site built around a
fictional city represented in a comic shows us is
that how the individual engages with the
ephemera of the site perhaps has more
resonance than the physical existence of the
site.
The ability to manipulate the archive's
ephemera, the bits and pieces inside buildings,
is perhaps more important than the
architectural spaces themselves.
31. Conclusion - Clear
Thinking of the virtual heritage site as having
the structure common to comics suggests that
heritage sites might emphasize the user's
attachment to the ephemera of the past rather
than its strictly its physical architecture.
The architecture worth preserving is
ultimately a narrative one, a creative one, and a
deeply individual one.