paura – Übersetzung – Keybot-Wörterbuch

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Intersections: Insicurezza: la “Paura liquida” e il controllo diffuso
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Intersections: Insecurity: “Liquid fear” and widespread control
  DomusMéxico Mixtape #6:...  
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Nonostante la paura globale di essere logorati dalla quotidianità, qualche volta preferisco ricordare quella famiglia sopra le nuvole o guardare gli specchi in cerca di una sorpresa. Óscar Rodríguez (@matildamanzana), grafico e musicista
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Despite the universal fear of being consumed by the humdrum, I sometimes like to remember that family in the clouds or to look into mirrors, hoping for a surprise. Óscar Rodríguez (@matildamanzana), graphic designer and musician
  Dove le città parlano a...  
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Allo stesso tempo, vi sono anche stand come quello di GE Capital Real Estate (“Imagination at Work”), il cui mistero è eguagliato solamente dalla paura di sapere quale possa essere la sua vera influenza globale.
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I wander into the Logistics Pavilion, which sets out investment opportunities in transportation hubs across Central Europe. Models of sublime banality show light industrial sheds with articulated trucks plugged into them, their tarmac skirts set into non-specific forests. They are models with such a clear-eyed focus detailing the minutiae of the modern world’s base-level infrastructure. Also of note here are the large-format photographs of unknown motorway intersections.
  Separate Amenities  
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La filosofia della segregazione inerente alle strutture dell’apartheid riflette elementi di controllo, paura e potere: elementi che oggi fungono da prova di un’epoca e del modus operandi di chi quel sistema l’ha creato”.
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My practice is situated within the notion of the landscape as a construct and I view my images as photographic constructs which foreground the ideologies of those who created these spaces. The philosophy of segregation inherent in these apartheid structures reflects elements of control, fear and power: elements which today acts as evidence of a time and modus operandi of the creators of that system”. Vincent Bezuidenhout
  Liparo & Bombs  
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Efstathiadis spiega che c’è stato un tempo in cui le rivolte in Grecia erano viste come uno spettacolo inscenato per i media: molotov ovunque, Atene in fiamme. Invece, le bombe che lui crea sono come i giocattoli dei bambini: rievocano la guerra e la paura, ma sono completamente innocui.
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In the Liparo & Bombs series, Efstathiadis explores the modern paranoia that exists within society. There is an underlying frustration experienced by young people in relation to the expectations and misplaced values of roles in society. Efstathiadis explains that there was a time when the riots in Greece were seen as a show put on for the media. Petrol bombs everywhere, Athens was on fire. But the bombs that he creates are like children’s toys, they reflect war and fear, yet are completely harmless — a powerful and peaceful response to the absurd nature of modern day society which is in a state of general confusion.
  Everything Loose Will L...  
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Sia detto a suo merito, la mostra non ha paura di apparire corposa, intelligente e articolata con passione accademica. Il presupposto pare essere che l’ovvio sia noto o comunque facilmente accessibile al visitatore: una ricerca su Google con lo smartphone è una cosa che ci si può ragionevolmente aspettare da un frequentatore di mostre di oggi.
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On paper, the contents of this show fall on all four margins of a main text, often in the areas reserved for footnotes. What makes “Everything Loose Will Land” a successful and engaging exhibition is that it avoids being a survey of well-known works by well-known artists and architects. The nametags on displayed projects sometimes bear obscurities, but even when the opposite is true (Bruce Nauman, Ed Ruscha, Eric Owen Moss, Denise Scott Brown and others make big appearances), it’s obvious that “Everything Loose Will Land” is an openly deeper dig into lesser-known connections.
  Urbanistica anti crisi 2  
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“Di solito non si capisce bene quanto si può stare in questi posti, quindi chi li prende in affitto non ha paura del cambiamento. Non sono necessariamente poveri, amano correre rischi. E questo crea ambienti molto più stimolanti dello squat legalizzato, di cui abbiamo un sacco di esempi qui ad Amsterdam.”
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“Typically it's unclear how long you can stay in these places and that means renters are not afraid of change. They are not necessarily poor, they are risk-takers. That makes for a much more stimulating environment than a legalized squat, of which we have plenty of examples in Amsterdam.” Which brings us to anti-squat. “The office space is not called anti-kraak, but it's basically anti-kraak, we rent below market price. In our new industrial location we have a 3-month notice agreement, which is much more than anti-squat. These are habits, not legal categories.” Temporary use is usually limited to four and a half years, because after five years renters mature certain legal protections and, if kicked out, they can go to court. That's why Mediamatic had to leave the post office two years before it was effectively demolished.
  SuperNormal: Google Glass  
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E se possiamo contare sull’accettazione di qualsiasi tecnologia che abbia inizialmente suscitato paura e stupore—l’elettricità, il telefono, l’immagine
in movimento—sappiamo che la computerizzazione pervasiva diventerà... pervasiva.
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While wearable computing has been in development for decades, with Glass, Google is the first to bring augmented vision to the consumer space. There will be, and already are, other examples—Baidu Eye [2] in China and The Technology Partnership’s prototype [3] in Cambridge, UK. If the uptake of every technology that first incited both fear and wonder—electricity, telephones, moving images—is anything to go by, ubiquitous computing will become, well, ubiquitous. So why not that which intercepts your sight? 
Just as the diffusion of eyeglasses in the Renaissance began with an elite set of Italian monks and cardinals,
 so Google closely gate-keeps the spread of Glass through Valley technologists and their circles. The closely managed alpha launch called for a limited set of “Explorers” chosen for their responses to [#ifihadglass], issuing a kind of Charlie and the Chocolate Factory Golden Ticket effect, whereby scarcity creates desirability.
  (In)visible city revisi...  
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Allora ci si rende conto che bisogna girare intorno all'albero per trovare il ramo giusto, dove si è in contatto con la città ma si continua a vederne il panorama. Per esempio nell'immagine intitolata Noord Street c'è un risalto con un tubo fluorescente rotto dove gli uomini della sicurezza hanno troppa paura di arrivare, ma che svela una bellezza incredibile.
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I've spoken about the city and the analogy between printing on older paper and new paper. There's a similarity with the way LP records were flawed with scratches and background noises but they still represent music at a level that is extremely close to the way we experience it. When CD's started happening everyone said it was perfect because there was no background noise, but somehow it eliminated the human nature of music and its taken twenty five years for CD's to start becoming more musical. The process of darkroom film and analogue and black and white is the same. It's flawed with scratches on the negatives and things that might go wrong with film and chemicals but there's a side to it that is warm and human. In these old papers that are messed up there's a very rich layer. So although it might lack contrast they have incredible amounts of subtle tones in the shadows. The new prints are all on archival digital paper, but what I'm getting at is that the early digital papers had only one option which is a very straightforward white paper on colour ink. Since then they've developed in the same ways that CD's have in the last twenty years. Today the digital paper I select with my printer has surface and tonal options like older paper, but its very fragile. By spending time on process and selection it starts revealing detail in the same way as older papers.