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age-of-moonknight · 2 years ago

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History of the Vestments (Part II)

Long post incoming! :D Here are the rest of my random thoughts on 616!Moon Knight's costumes up through modern comics. As I was going through the material for this post, it normatively felt like there were a lot more artists drawing Moon Knight around the same period of time but with slightly different styles, so unfortunately this definitely isn't an exhaustive collection; it kind of ended up being a little less ontological and a bit more of a tour of some of my favorite points along the timeline (RIP my academic credibility).

1. The Skinny Peaked Hood Era

Although it was probably more indicative of artist David Finch's style than perhaps how Moon Knight's hood was actually supposed to be perceived, I do find it interesting that the markedly longer and thinner peak in the hood distinctive of Mr. Finch's work started to bleed into other artists' interpretation of Moon Knight around this time.

Moon Knight (Vol. 5/2006), #5

For example, there is this comic with art by Arthur Adams and Walden Wong.

Hulk (vol. 2/2008), #8

Another interesting characteristic that was especially emphasized during this period was the cloak's volume, which was expanded to create such wonderfully dramatic panels as this one by artist Jefte Palo:

Moon Knight (vol. 5/2006), #29

Other artists around this same time period, such as Mark Texeira and Javier Saltares respectively, chose to emphasize other elements, instead adding more prominent crescent details on the bracers, boots, and belt. (This definitely confirmed for me that the correct answer to the question "how many crescents are on Moon Knight's suit at any given time?" is "yes")

Moon Knight (vol. 5/2006), #17

Moon Knight (vol. 5/2006), #24

2. Armored, High-Tech Jake Lockley

With a new series and artist, Vengeance of the Moon Knight and Jerome Opeña respectively, the Moon Knight suit once again got a new look, featuring a new crescent logo design on the chest plate and what looks to be, in my opinion, more "futuristic" armor. The designs of the spaulders, bracers, and boots have been altered to include more elongated crescents and the armor overall appears to be more extensive and intensive to put on (necessitating the very post-Iron Man (2008) suiting up scene hahaha). Furthermore, there's also the addition of the firearm holsters, which is a marked development from the Moon Knight of the 1980's who largely tried to avoid firearms.

Cover for Vengeance of the Moon Knight (Vol. 1/2009), #1

Vengeance of the Moon Knight (Vol. 1/2009), #7

Vengeance of the Moon Knight (Vol. 1/2009), #4

One other interesting detail that I noticed becoming more prevalent around this time is the inclusion of more noticeable seams, especially along the sides of the mask (which frankly reminds me of Fantomex hahaha), as seen in this panel with art by Juan Jose Ryp.

Vengeance of the Moon Knight (Vol. 1/2009), #9.

But to be honest, this period was a bit of a free-for-all when it came to design, with some people like artist Bong Dazo really focusing on the details....

Shadowland: Moon Knight (Vol. 1/2010), #2

....others like Mike Deodato Jr. and Will Conrad going with a more "classic" look...

Secret Avengers (Vol. 1/2010), #10

...and others still sort of splitting the difference, as seen with Graham Nolan’s work...

Captain America: Hail Hydra (Vol. 1/2011), #5

3. Meleev’s Take

Moon Knight (Vol. 6/2011), #8

Maleev’s work on volume 6 leaned more towards the “understated” end of the spectrum, with no decoration on the bracers and boots and a belt that frankly reminds me of the sort of the thing Spider-Man would keep under his suit to carry his web cartridges (and of course, there’s all the other costume weapons/accessories that came with this volume hahaha).

Moon Knight (Vol. 6/2011), #9

4. Precursor to Mr. Knight????

Now this was an interesting (re)discovery: apparently in Secret Avengers #19 (a personal favorite issue of mine) with art by Michael Lark, Moon Knight's undercover stint as a civilian ends with him wearing a combo that is very similar to what Mr. Knight would wear in his debut in an issue published three years later. Just a fun little bit of trivia.

Secret Avengers (Vol. 1/2010), #19.

5. Ladies and Gentlemen, THE Mr. Knight

Moon Knight (Vol. 7/2014), #1

Perhaps one of THE most iconic looks for Moon Knight, Declan Shalvey’s Mr. Knight was described as a respectable public persona who could interact with official authorities, unlike the vigilante Moon Knight, and with such a smart looking three-piece suit, he definitely looks the part. In this particular panel, I especially like the crescent details on the buttons and cuffs.

5. That One Black Suit

Moon Knight (Vol. 7/2014), #2

I uuuuuh actually already wrote a whole post breaking this suit down, so you can find that here, if you like hahaha

6. Ghost Ripper Armor

Moon Knight (Vol. 7/2014), #3

If Mr. Knight is for respectable, above-board business and the Moon Knight armor is for beating up crooks in alley ways, this here armor is for the more mystical elements Moon Knight might need to deal with. While most prominently featured in Shalvey’s work and throughout volume 7, it has popped up in two issues of Moon Knight: Black, White & Blood, first in a story drawn by Akande Adedotun and then in a story with art by Leonardo Romero.

7. Lockley????

Moon Knight (Vol. 7/2014), #8

This one isn’t revolutionary so much as it just haunts me personally. This appearance by an alter only referred to as “Lockley” (Jake Lockley??? although some argue that this may be another alter???) is only found in this issue with art by Greg Smallwood. It features the volume 7 black suit sans the cowl and with the addition of a white mask and honestly, the whole lack of information surrounding this incident just insures that at least I will forever lie awake thinking about it hahaha

8. Bemis Era

Cover for Moon Knight (Vol. 8/2016), #189

The initial artist for the Bemis run, Jacen Burrows, continued the trend of keeping the Moon Knight suit fairly simple in design and monochromatic in color. Some elements I do appreciate, however, are the subtle change in shape of the bracers while the straps across the inner arm still mimic the banding of earlier designs. Furthermore, I just find the use of white lenses surrounded by black, as opposed to the typical glowing blue or slightly less common red, to be an interestingly distinctive artist’s choice.

Moon Knight (Vol. 8/2016), #197

9. MacKay Era

Simply put, I owe artist Alessandro Cappuccio and colorist Rachelle Rosenberg my soul. On my last post about Moon Knight’s suits, there’s a comment about how the body of Marc’s suit was originally supposed to be black while the white was only intended to act as highlights. The classic all-white suit wasn’t adopted until around the West Coast Avengers era due to changes in printing and some readers coming to the conclusion that the suit was white (sort of a Spider-Man 2099 situation where his suit is described in the text as being predominantly black despite looking blue). Mr. Cappuccio seems to be harkening back to that effect and I personally find it very exciting. Depending upon the lighting in a panel, the suit in volume 9 can look almost like the one introduced in volume 7 or it could look almost entirely black…

Moon Knight (Vol. 9/2021), #1

…OR it could look as pure white as people have thought it has been for decades hahaha

Moon Knight (Vol. 9/2021), #8

Add on to that the faint glow effect that’s present even with Mr. Knight's suit and you get a truly otherworldly look perfect for a guy who’s been brought back from the dead a couple times by an Egyptian deity and who will not hesitate to punch a ghost or kill a faery. Or live in a haunted house for that matter.

Moon Knight (Vol. 9/2021), #1

Moon Knight (Vol. 9/2021), #7

Look at this walking glowstick

#Marvel #Marvel comics #Marvel 616 #History of the Vestments #Moon Knight comics #Moon Knight #Marc Spector #Jake Lockley #Lockley #Mr. Knight #yeah this post feels a lot less thorough than the last but eeeeh what am I trying to do here???? Get a good grade in tumblr???#(....I would be lying if I didn't answer with at least '....a little bit' but I am practically yerding that instinct hahaha)#I had some fun and I hope at least someone else enjoys this too :D #I might do a big ol' compilation of non-616 Moon Knight suits #and then it'll be on to all the vehicles that have been crashed in Moon Knight comics hahaha #long post

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dxntloseurhead · 2 years ago

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not sure if anyone’s posted it yet since the &j tags are near IMPOSSIBLE to search because of the ‘&’ but AUSTRALIA CAST!!!

juliet: lorinda may merrypor (she/her)

anne/april: amy lehpamer (she/her)

shakespeare: rob mills (he/him)

lance: hayden tee (he/they)

may: jesse dutlow (he/they)

romeo: blake appelqvist (they/them)

angelique/nurse: casey donovan*

francois: yashith fernando (he/him)

lady capulet/nell: sarah murr (she/her)

lord capulet/sly: sean sinclair (he/him)

imogen/benvolio: riley gill (they/them)

lucy: imani williams (she/her)

kempe: james elmer (he/him)

gregory: jacob rozario (he/they)

judith/rosaline: giorgia kennedy (she/her)

augustine: coby njoroge (he/him)

susanna: georgia anderson (she/her)

richard: jordan koulos (he/him)

eleanor: jade delmiguez (she/her)

henry: clay roberts (he/him)

margaret: romy vuksan (she/her)

thomas: jerome javier (they/he)

fletcher: jake o’brien (he/they)

cuthbert: nathan james tamati (he/him)

gwynne: selina salgadoe (she/her)

viola: aadhya wijegoonawardena*

* - pronouns not listed

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x----tine · 9 days ago

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Remember to Dream: Election Day Reading November 5, 3pm - 12am

In her epic video cyclorama The Shape of Things, currently on view at Gladstone, Carrie Mae Weems has envisioned the last eight years of American politics as a circus. That three-ring extravaganza comes full circle literally and figuratively on November 5th when America goes to the polls to decide its very future. On that day, The Shape of Things will come to life as an agora, a public sphere where people will join to collectively witness what transpires, sharing in an atmosphere shaped by the autonomy of creativity. Organized by Precious Okoyoman and Vincent Katz and Brian Degraw, with Rirkrit Tiravanija + Co. and Spiral Theory Test Kitchen, this all-day event will be a refuge, an oasis, a temporary autonomous zone in the spirit of Hakim Bey. The durational program of readings, live music, and food will materialize through the participation of artists, poets, performers, and composers united by a shared sense of defiance, hope, and purpose. Open to the public and free, Remember to Dream welcomes all those seeking sanctuary and inspiration on a historic day premised on precarity and defined, one hopes, by an enduring faith in our fragile democracy. The still-evolving list of confirmed readers and performers includes Bruce Andrews, Alissa Bennett, Ka Baird, Cristine Brache, Gavin Brown, Tina Campt, Candystore, LaTasha Diggs, Elaine Equi, Nicol Maye Goldberg, Terrance Hayes, Erica Hunt and Marty Ehrlich, Paolo Javier, Joan Jonas, Vincent Katz, Masaaki, Matt McCauley, Tracie Morris, Bob Nickas, Precious Okoyomon, Funto Omojola, Ariana Reines, David Rimanelli, Jerome Sala, Ryan Sawyer and Sam Newsome, Sally Silvers, Nancy Spector, James Allister Sprang, Harry Tafoya, Rirkrit Tiravanija, and Anne Waldman. Readings and performances will be interspersed with screenings of Weems’ video. The gallery will be open from 3pm until midnight, November 5, 2024.

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tayko09 · 14 days ago

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#Spotify

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bukas-space · 1 month ago

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About bioSignals [PH]

bioSignals is an artistic and cultural exchange that bridges three island nations – New Zealand, the Philippines, and the UK – through the real-time collection, processing, and transmission of signals generated from local plant life. By transforming these electro-botanical signals into multisensory installations, the project explores interspecies communication and reimagines our relationship with nature, emphasizing our global interconnectedness not just as human society, but as part of a broader living ecosystem. bioSignals foreground that we–human and non-human actors–are all part of one interconnected and interdependent world.

Through these three distinct yet interconnected approaches, bioSignals creates a global dialogue about resilience in the face of environmental challenges. The New Zealand team's 'resilience garden' merges memories, meditation, and rituals, connecting plants beyond the realms of technology. Meanwhile, the UK team explores botanical horror as a way of examining the uncanny and creating a space to contemplate the consequences of our actions on the environment. Similarly, our team in the Philippines focused on resilience through the specific lens of the tropics and the socio-political-economic conditions of the Global South. In the Philippines, where climate change impacts are often felt most severely and where resources for mitigation may be limited, resilience becomes the reality. Our decision to explore resilience was driven by the urgent need to understand and enhance the adaptive capacities of both human and ecological systems in vulnerable tropical regions.

As resilience became not a choice but a necessity in the Philippines, Kangkong (Ipomoea aquatica) emerged as the protagonist in the bioSignals PH team’s evolving narrative of survival. The bioSignals Philippines team exhibition focuses on kangkong, which, despite its ease of cultivation and medicinal properties, is frequently dismissed as merely a commonplace vegetable in the Philippines. This choice is deeply rooted in the sociocultural significance and scientific relevance of kangkong in the Philippines. At the heart of our exhibition lies kangkong, both a metaphor and a medium, a testament to resilience and adaptability in Filipino culture, thriving in the margins.

Through an interdisciplinary approach, our exhibition tells the story of kangkong through collected plant signals, environmental adaptation, and cultural connotations, while highlighting its—and by extension, our—resilience. This exhibition harnesses the silent language of plants, transforming biological processes into a dialogue that transcends geographical boundaries.

The use of mixed media in the artwork reflects different perspectives on resilience. Kangkong's adaptability to grow anywhere symbolizes resilience as flexibility, demonstrated by Gino Javier's cultivation in recycled containers; and Jerome Suplemento, Diego Maranan, and Pat Calora's use of woven yarn where the roots findtheir way around the fibers. Resilience as survival is explored through Shari San Pablo’s work, where the kangkong fields metaphorically represent both resilience and its limits. The ongoing process of growing kangkong, monitored through signals, exemplifies resilience as a process–a dynamic and ever-evolving concept.

The exhibition space now becomes a living laboratory where art, science, and culture converge. bioSignals would like to remind us that resilience is not a static state but a dynamic process of constant renewal—a flow that, like kangkong, finds ways to persist and thrive. As we face global challenges of climate change and biodiversity loss, this exhibition invites us to observe, connect, and learn from the quiet wisdom of kangkong which has mastered the art of survival.

Dr Diego Maranan, Jerome Suplemento, Dr Shari Eunice San Pablo, Blancaflor Arada, Pieter Steyaert, Gino Javier / TERRA BOMBA, Pat Calora

Description of bioSignals[PH] Works

Resilience Requires Renewal

Diego Maranan

In this work, I attempt to embody the concept of resilience through the growth of plants on a suspended fabric, an environment that is both unnatural and precarious for them. Resilience, especially in nature, is often perceived as an innate quality—something inherent in plants, animals, and ecosystems. We admire plants for their ability to grow in seemingly inhospitable environments, to persist despite challenges. But resilience is not simply a matter of toughness or endurance. It is something that must be nurtured, supported, and renewed.

Like the other works by the bioSignals PH team, I use kangkong (Ipomoea aquatica), a plant known for its adaptability and tenacity, as the central figure in this experiment. Kangkong is typically grown in wet, muddy environments, and yet, in this piece, kangkong seeds are embedded in suspended crocheted fabric—something they wouldn’t naturally attach to. This unusual medium challenges the plants, asking them to adapt in new ways.

At first glance, the plants appear resilient simply because they are growing in an unconventional space. However, their resilience is only possible because of the support systems I've put in place. One key element in this work is the running water that continuously cycles over the suspended fabric. The water is not just a passive medium but an active participant in the resilience of the plants. By cycling over the fabric, the water prevents stagnation, keeps the plants nourished, and sustains a moisture gradient that runs from the top of the fabric (dry) to the bottom (very wet). This environmental gradient offers the plants a variety of moisture levels to choose from. In turn, this creates a dynamic and adaptive growing environment, where each plant can determine the best location to extend its roots. The water flow itself also symbolizes renewal—always moving, always fresh, and essential for the continued growth of the plants.

In addition to the water, I have employed grow lights to provide the plants with the necessary light for photosynthesis. Here, the resilience of the plants is dependent on an external source of energy—without the grow lights, the plants would not survive. This illustrates another aspect of resilience that often goes unrecognized: the need for nurturing from the environment. Resilient as they are, plants still require the right balance of light, water, and nutrients in order to thrive.

Another layer of support in this piece comes from the chia seeds that surround each kangkong seed. The chia seeds, when exposed to water, form a gelatinous substance that acts as a natural adhesive, helping the kangkong seeds adhere to the fabric. This “glue” holds the seeds in place, allowing them to establish roots in an environment where they would otherwise struggle to stay put. The chia’s gelatinous coating also helps retain moisture, creating a small, localized moisture reservoir for the kangkong. In this way, the chia seeds act as an invisible support system, assisting the kangkong in its survival and growth. I believe that the chia seeds may possibly also contribute in another way: by forming a root network that the kangkong can eventually entangle itself with. As the chia sprouts and sends out roots, they may create a secondary substrate for the kangkong’s roots to attach to, providing more anchorage and stability than the fabric alone could offer. This potential interaction between the chia and kangkong further reinforces the idea that resilience is not a solitary act—it’s a process that involves mutual support, collaboration, and symbiosis.

Even though plants can grow in surprising and unlikely places, their survival and growth are not purely a testament to their own strength. They rely on a network of nurturing factors—the water, the light, the fabric, and even the chia seeds. This mirrors human resilience; humans, too, are often celebrated for our ability to withstand hardship or adapt to change, especially when living in the harsh or resource-restricted contexts of the Global South. But rarely is our resilience solely a matter of individual strength. Like the plants in this piece, we are supported by external systems: our communities, our environments, and the structures around us.

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bioSignals PH x NZ x UK

These two looping videos provide a glimpse into the process and activities of the three bioSignals teams from across the world. The first (top) is a slideshow of images shared by the Philippine, New Zealand, and UK teams. The second is a walkthrough of a virtual world built in the Sansar platform created by Daniël Vandersmissen, in which text, images, and video from the three teams are embedded throughout the environment.

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Landscape 1

Jerome Suplemento

Landscape 2

Jerome Suplemento

My decision to use an alternative growing platform for the plants is to feature their adaptability, at the same time the knitted yarn represents a malleable landscape. It also calls to attention the plight of local farmers having no ownership of the land that they till. Encased in a terrarium, the piece creates its microclimate similar to our local weather, and sensors are used to track the water cycle reflecting the sudden shifts in our climate and environment—literally and figuratively, The arrangement of the plants including the moldy seeds illustrates the natural process of growth and decay, emphasizing the delicate balance between life and death in the ecosystem. Through this work, the artist explores the dynamic relationship between nature and its surroundings, highlighting the resilience and vulnerability inherent in both.

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Diligin Ng Suka Ang Uhaw na Lumpia (1987)

Gino Javier

In this installation, I confront the pressing issues of food security through the lens of urban agriculture and waste repurposing. My work transforms an array of discarded food packaging into vessels of growth and possibility. Coffee cups, milk cartons, foil packaging for chips and pancit canton, plastic containers of mayonnaise, tin cans, and plastic containers—everyday vessels of consumption—are reimagined as cradles of cultivation. By growing kangkong (water spinach) using various propagation methods within these repurposed containers, I challenged our perceptions of waste and sustenance.

The title, "Diligin Ng Suka Ang Uhaw na Lumpia", evokes a sense of irony and futility, mirroring the contradictions inherent in our current food systems. The piece employs multiple cultivation techniques—water propagation, soil cuttings, seed germination, and hydroponics—each method representing different approaches to food production and sustainability.

The grow lights cast an artificial glow over the plants, highlighting our increasingly technological relationship with food production. This juxtaposition of natural growth within synthetic containers, illuminated by artificial light, speaks to the complex interconnections between nature, consumption, and survival in urban environments.

My piece serves as both a practical demonstration of urban farming possibilities and a critical commentary on the precarity of our food systems. By reimagining waste as a resource and exploring various growth methods, the installation suggests pathways toward more sustainable and resilient food practices, while questioning the systems that necessitate such adaptations.

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Cycle of Decay

Shari San Pablo

In "Cycle of Decay," I explore the complex relationship between nature's resilience and human violence through the symbolism of kangkong (water spinach). This installation features plaster body parts - a torso and hands - sitting on top of soil and kangkong to illustrate decomposition, illuminated by a stark red light.

The piece draws from the Filipino phrase "mabulok sa kangkungan" (to rot in water spinach fields), which typically denotes abandonment or defeat. Upon looking into the etymology of the phrase, I found that during Martial Law in the Philippines, people hid the bodies of victims from killings by authorities in water spinach fields because of its thick layers.

My work echoes the cruel irony of how humans exploit the very resilience of nature. Kangkong, known for its ability to clean toxins from water and grow in the harshest conditions, has paradoxically become associated with concealing the evidence of violence. Bodies of victims from extrajudicial killings have been found in kangkungan.

Through this installation, I want to illustrate how resilience, often celebrated particularly in Filipino culture, has its limits when it's merely a form of survival. The kangkong continues to grow and purify, yet it's perpetually burdened with processing our decay and violence. This cycle represents an exhausting loop of trauma - the plant cleanses, humans corrupt, and the cycle begins anew. The stark white plaster body parts being reclaimed by the kangkong visualize this tension between purification and contamination.

This piece embodies, both literally and metaphorically, the Filipino phrase "mabulok sa kangkungan" - to rot in the water spinach fields, forgotten. Here, we allow the kangkong to wither naturally, mirroring the slow decay the saying evokes.

My use of red lighting is intentional. Beyond its reference to Martial Law, it bathes the installation in a warning glow, serving as both a memorial to past victims and an alarm about ongoing and potential future repression. It ensures we cannot look away or forget, challenging the viewer to confront the reality of how human actions can pervert even the most restorative natural processes.

The title "Cycle of Decay" speaks to multiple layers of decomposition - the literal decay of hidden bodies, the moral decay of using nature to conceal violence, and the continuous cycle of purification and contamination. Yet it also questions the nature of resilience itself. Is the ability to withstand trauma really something to celebrate? At what point does resilience become a euphemism for being repeatedly victimized?

In creating this piece, I formed an intimate relationship with kangkong, observing its growth and resilience firsthand. This process deepened my understanding of the plant's symbolic significance in Filipino culture - how it represents our people's ability to survive and thrive in difficult conditions. Yet, like the kangkong, this resilience often comes at a cost. We adapt and survive, but the systems that necessitate this resilience remain unquestioned and unchanged.

Through "Cycle of Decay," I invite viewers to reflect on these interconnected themes of resilience, violence, and survival. The installation serves not just as an artwork, but as a form of protest and memorial. It reminds us that while nature may be resilient, continuously capable of renewal and purification, we must question the cost of this resilience and our role in perpetuating cycles of violence and decay. As kangkong continues to clean our waters and bear witness to our crimes, we must confront the limits of resilience as survival and strive for a world where such resilience is no longer necessary.

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Life Between the Gaps

Patricia Calora

In “Life Between the Gaps”, I explore the idea of resilience through an intentionally imperfect, anatomically-inspired crocheted heart, made from both acrylic and cotton yarn, with several kangkong plants (Ipomoea aquatica) growing through it. The heart’s form is deliberately flawed, with gaps and openings created during the crochet process through stitch increases, decreases, skips, yarn changes, and unwoven yarn ends. These imperfections symbolize the idea that growth and survival often arise in spaces of vulnerability, where life can flourish even under non-ideal conditions. The plants, at different stages of growth—some fully grown, some still seeds—represent resilience as an ongoing process of adaptation and renewal.

The heart is filled with earth—soil, coco coir, and moss—grounding it in nature and strengthening its connection to the plants. A closed watering system ensures their survival: when soil moisture drops to 25%, water is pumped from a basin at the base of the piece, flowing through the heart’s aorta. This inversion of the aorta’s traditional function—where it typically carries blood away from the heart—symbolizes the heart’s need for external nurturing, challenging the notion that resilience is purely internal.

By combining natural and synthetic materials, this piece aims to reflect the complex environments in which life exists, where adaptation is key. This piece explores resilience not as a self-sustained trait but as a cyclical process that requires external care and renewal. Just as the heart, though vital, needs nourishment to function, life thrives when nurtured, even in fragile or imperfect spaces.

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ESP-WROOM-32 ecosystem

Blancaflor Arada

At the beginning of the project, the initial setup utilized an Arduino UNO R2, a popular, low-cost open-source microcontroller board, connected to a Digital Humidity and Temperature sensor (DHT22), a photoresistor (light sensor), and a soil moisture sensor. However, since bioSignalsUK and NZ are using the cloud-based platform Adafruit IO, the system had to be migrated to another microcontroller, the ESP-WROOM-32. This microcontroller has similar capabilities to Arduino but includes the added advantage of Wi-Fi connectivity, making it compatible with cloud-based platforms such as Adafruit IO.

One of the challenges I faced was to familiarize herself with the functionalities of the ESP-WROOM-32 and Adafruit IO. My task was to create a dashboard to display sensor data such as humidity, temperature, light levels, and soil moisture, and to transmit this data from the ESP-WROOM-32 to the Adafruit IO platform, where it could be visualized through shared feeds.

Additionally, I needed to understand how to integrate a submersible motor pump, relays, a battery pack, and a 12V peristaltic motor pump to build an automated watering system. Furthermore, I explored the integration of a 5V LED strip into the ESP-WROOM-32 ecosystem, including learning how to set up power supply connections. Programming for these components was done using the Arduino Integrated Development Environment (IDE), and various libraries were installed to support the functionality of Adafruit IO.

I also explored the Blues Wireless Starnote Starter Kit, a cost-effective hardware development kit designed to simplify building connected IoT solutions using non-terrestrial networks (NTN) or satellite signals. I successfully sent sample data feeds via the Blues Notecard, which uses NTN, but was unable to utilize satellite signal transmission in the Philippines due to the lack of coverage from the satellite provider Skylo.

I also attempted to integrate the Blues Wireless Starnote Starter Kit with the ESP-WROOM-32 microcontroller, connecting the ESP-WROOM-32’s GPIO 21 and 22 pins to the SDA and SCL pins of the Starnote kit. Although there were no errors in the code, the data sent from the ESP-WROOM-32 did not appear in the Notehub.io platform, likely due to the absence of Skylo coverage in the region. As a result, the Blues Wireless Starnote Starter Kit was not used in the final exhibit setup.

In the bioSignals exhibit, there were various ESP-WROOM-32 setup configurations:

Landscape 1 – The setup included an ESP-WROOM-32, DHT22 sensor, photoresistor, and soil moisture sensor.

Landscape 2 – This setup also included the Arduino UNO R2 and LED strip, which changed color in response to changes in sensor values (humidity, light, or soil moisture).

Life Between the Gaps – In addition to the ESP-WROOM-32 ecosystem, this setup, with the Arduino UNO R2, includes watering system components, such as a relay and a 12V peristaltic motor pump. When the soil moisture level dropped to 25%, the pump activated, watering a crocheted heart for 10 seconds.

Diligin Ng Suka Ang Uhaw na Lumpia – This setup was similar to bioSignals PH: Jerome, featuring an ESP-WROOM-32, DHT22 sensor, photoresistor, and soil moisture sensor.

These variations highlighted different configurations of the ESP-WROOM-32 ecosystem, demonstrating the flexibility and adaptability of the microcontroller in various IoT and artistic applications.

kangkøng

Pieter Steyaert

This system collects real-time data from sensors monitoring plants in the Philippines, New Zealand, and the United Kingdom. Sensors gather various metrics, including temperature, humidity, soil moisture, light levels, and biosignals such as pressure and luminance. Each data stream creates an organic blob, visually representing the unique environmental conditions at each location. As data flows continuously, the blobs morph and evolve, reflecting the dynamic conditions of the plants. The system captures subtle shifts in humidity and temperature, producing an organic visualization that responds to these inputs.

To support this, I developed two tools. The first is designed to capture, analyze, and stream this data, making it accessible for the teammates across the different locations in the world to explore, interpret and implement in their own ways. The second tool is a visual data exploration platform that transforms the raw data into dynamic visuals. This way, the data isn’t just a set of numbers but becomes an explorative experience, inviting us to see how the conditions in each region change over time and how they influence one another.

Credits

Led by a distributed team of creative collaborators from the UPOU Faculty of Information and Communication Studies, TERRA BOMBA (Philippines), AwhiWorld (New Zealand), the United Kingdom, and international artscience collective Space Ecologies Art and Design (SEADS), bioSignals gathers and shares biological signals from live plants, transmitting this data to global partners. The Philippine team’s focus on the culturally significant and resilient kangkong highlights themes of adaptability and connection in both natural and human systems.

bioSignals is a creative research project funded by the British Council’s #ConnectionsThroughCulture programme, with additional support in the Philippines from UPOU and the UP President’s Committee for Culture and the Arts, Arts-British Council, and British Council Philippines.

Organisational project members: AwhiWorld, SEADS, and UP Open University.

PH team: Diego Maranan, Jerome Suplemento, Blancaflor Arada, Shari Eunice San Pablo, Gino Javier, Peter Steyaert

NZ team: Maggie Buxton, Kim Newall, Daniel Vandersmissen, Frederico D.A de Sena Pereira, and Jarred Taylor

UK team: Mary Pedicini, Amy Holt, Ulrike Kuchner, Angelo Vermeulen, and Matthew Woodham

Special thanks to Leo Letran, Edilyn Villacora, Jimmy Fermin, Jennifer Pareja, and Earl Magtibay for logistical support and for caring for the plants.

Photography: Participating Artists, Tessa Martinez, Joy Rebulanan, Zayra Bulawan. Text: Participating Artists

#biosignalsph

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moochilatv · 2 months ago

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DAX presents: God's Eyes

The Mega Remix it's here

The song have 13 new artist founded in tiktok from DAX !

youtube

Featurings:

Phix

Thiezking

Brutha Rick

Ben Becker

Jerome Dillard

Seth Addison

Carly Pearl

Romeo Thegreatwhite

P!X!E

Mic Manic

Javier Zachi

TheSanity

Armstrong

Check also this reel with DAX & Carly Pearl:

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#godseyes #openverse #singer #remix #DAS #hit #Youtube #Instagram

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goalhofer · 3 months ago

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2024 olympians representing non-birth nation by country part 2

Azerbaijan: Loren Alfonso, boxing (Cuba); Anna Başta, fencing (Russia); Ade Dwicahyo, badminton (Indonesia); Diana Dymchenko, rowing (Ukraine); Tiffany Hayes, basketball (U.S.A.); Hideyet Heyderov, judo (Kazakhstan); Rafiq Hüseynov, wrestling (Uzbekistan); Finlay Knox, swimming (U.K.); Uşangi Kokauri, judo (Georgia); Zelym Kotsoiev, judo (Russia); Magomedkhan Magomedov, wrestling (Russia); Gashim Megomedov, taekwondo (Russia); Giorgi Meshvildishvili, wrestling (Georgia); Osman Nurmahemmedov, wrestling (Russia); Rostyslav Pevtsov, triathlon (Ukraine); Sabah Shariati, wrestling (Iran); Maryam Sheikhalizadehkhanghah, swimming (Iran); Hanna Skydan, athletics (Ukraine); Mariya Stadnyk, wrestling (Ukraine); Zelim Tckaev, judo (Russia) & Marcedes Walker, basketball (U.S.A.) Bahrain: Kemi Adekoya, athletics (Nigeria); Birhanu Balew, athletics (Ethiopia); Rose Chelimo, athletics (Kenya); Eunice Chumba, athletics (Kenya); Tigist Gashaw-Belay, athletics (Ethiopia); Askerbii Gerbekov, judo (Russia); Gor Minasyan, weightlifting (Armenia); Salwa Naser, athletics (Nigeria); Lesman Paredes, weightlifting (Colombia); Akhmed Tazhudinov, wrestling (Russia) & Winfred Yavi, athletics (Kenya) Bangladesh: Imranur Rahman, athletics (U.K.) Belgium: Bashir Abdi, athletics (Somalia); Charlotte Englebert, field hockey (U.K.); Isaac Kimeli, athletics (Kenya); Neisser Loyola, fencing (Cuba); Nelson Onana-Alima, field hockey (Sweden) & Vasile Usturoi, boxing (Romania) Benin: Valentin Houinato, judo (France) & Alex Kpade, swimming (France) Bermuda: Dara Alizadeh, rowing (U.S.A.) Brazil: Nicolas Albiero, swimming (U.S.A.); Júlia Bergmann, volleyball (Germany); Lukas Bergmann, volleyball (Germany); (Angelina Costantino, soccer (U.S.A.); Yoandy Leal, volleyball (Cuba); Nathalie Moellhausen, fencing (Italy); Rodrigo Pessoa, equestrian (France) & Luana Silva, surfing (U.S.A.) British Virgin Islands: Adaejah Hodge, athletics (U.S.A.) Bulgaria: Javier Ibáñez, boxing (Cuba); Karlos Nasar; weightlifting (France); Aik Mnatsakarian, wrestling (Georgia); Stili Nikolova, gymnastics (Egypt); Semyon Novikov, wrestling (Ukraine); Kevin Penev, gymnastics (U.S.A.); Magomed Ramazanov, wrestling (Russia); Rachel Stoyanov, gymnastics (U.S.A.) & Kīmiyā Zonūzī, taekwondo (Iran) Cambodia: Antoine De Lapparent, swimming (France) & Apsara Sakbun, swimming (U.S.A.) Cameroon: Sarah Hanffou, table tennis (France) Canada: Eliezer Adjibi, athletics (Benin); Mohammed Ahmed, athletics (Somalia); Sophie Angus, swimming (U.S.A.); Fares Arfa; fencing (Algeria); Marco Arop, athletics (Sudan); Simi Awujo, soccer (U.S.A.); Jeremy Bagshaw, swimming (Singapore); Alex Baldoni, canoeing (France); Janine Beckie, soccer (U.S.A.); Jerome Blake, athletics (Jamaica); Blake Broszus, fencing (U.S.A.); Christina Deguchi, judo (Japan); Kelly Deguchi, judo (Japan); Adam Dong, badminton (China); Michele Esercitato, shooting (Italy); Shady Elnehas, judo (Egypt); Ana Godinez, wrestling (Mexico); Shaul Gordon, fencing (Israel); Samantha Hill, basketball (U.S.A.); Michelle Li, badminton (China); Maggie MacNeil, swimming (China); Jacqueline Madogo, athletics (Democratic Republic Of Congo); Arthur Margelidon, judo (France); Marilia Mimides, water polo (Greece); Anicka Newell, athletics (U.S.A.); Sydney Pickrem, swimming (U.S.A.); Raphaelle Plante, swimming (Austria); Ana Portuondo, judo (Cuba); Miloš Raonić, tennis (Croatia); Ava Stewart, gymnastics (U.S.A.); Syla Swords, basketball (France); Clara Vulpisi, water polo (Romania); Eugene Wang, table tennis (China); Brandie Wilkerson, volleyball (Switzerland); Ruien Xiao, fencing (China); Mo Zhang, table tennis (China) & Yunjia Zhang, fencing (China) Cape Verde: Victor Alvares, fencing (France); Jayla Pina, swimming (U.S.A.); Djamila Silva, judo (Portugal) & José Tati, swimming (South Africa) Cetral African Republic: Nadia Guimendego, judo (France) Chile: Yasmani Acosta, wrestling (Cuba); Néstor Almanza, wrestling (Cuba); Alejandro Tabilo, tennis (Canada) & Zeng Zhiying, table tennis (China)

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diarioelpepazo · 10 months ago

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El estelar látigo venezolano obtiene triunfo selectivo en Nueva York que otorga puntos al Kentucky Derby Efrén Rodríguez Javier Castellano ganó su primer Derby de Kentucky en 2023 y esa una sensación que al excepcional jockey venezolano de 46 años, sin duda le gustaría volver a experimentar. Castellano monta a Drum Roll Please para terminar en tercer lugar en el Remsen Stakes Grado 2 el mes pasado en Aqueduct y viaja para montarlo de nuevo la primera carrera del potro de 3 años el sábado en Nueva York, el Jerome Stakes. Queda por ver si será Drum Roll Please la monta de Castellano en el 150º Derby de Kentucky a correrse el 4 de mayo de 2024, ya que el potro da el siguiente paso en su búsqueda para llegar allí, al ganar el Jerome Stakes de $145,000 por 3 3/4 cuerpos sobre El Grande O, ejemplar criado en Nueva York que hace su primera prueba a los 3 años La victoria le valió a Drum Roll Please 10 puntos clasificatorios para el Kentucky Derby y le otorga 13 puntos en total en el sistema que Churchill Downs usa para determinar los participantes si más de 20 ingresan a la carrera. Castellano se separó de la baranda temprano, deja ir a su caballo último, pero a sólo dos cuerpos del lote, antes de la curva final Castellano lleva a Drum Roll Please hacia la parte exterior, para pasar de viaje a ganar la carrera. Al respecto declara Javier Castellano a DRF “Me gusta la forma en que lo hizo porque fue a un ritmo lento, en pista profunda, lo hizo de la manera correcta, iba detrás de los caballos con arena en la cara, con tranquilidad sale afuera y remata. Este es el tipo de preparación que me gusta hacer a los caballos”. Sobre no haber sido nominado al Eclipse Award, un premio que ha ganado cuatro veces, refiere Castellano: “Es lo que es. Gracias a Dios tengo un gran año, gané dos carreras de la Triple Corona en el mismo año, la Travers, las United Nations, el Jockey Club Gold Cup. Gracias a Dios pude volver al panorama general y al alto nivel, simplemente estoy agradecido”. Para recibir en tu celular esta y otras informaciones, únete a nuestras redes sociales, síguenos en Instagram, Twitter y Facebook como @DiarioElPepazo El Pepazo/Meridiano

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wonderlandleighleigh · 2 years ago

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BTW friends. While I don’t have face claims for Carly or Bonnie or Jeff as of yet (I need to do more thinking), if you’re wondering who would play Jerome and Javier in Loveology:

#That's right it's Winston Duke and Pedro Pascal #Because I can #fic stuff #M'Baku and the Mando lol

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alterna2mag · 11 months ago

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OMBRA Festival celebra una exitosa quinta edición en su nuevo recinto

Guiomar Fernández

OMBRA Festival celebró su quinta edición del 1 al 3 de diciembre en su flamante nueva ubicación, la Antigua Fábrica ENMASA Mercedes-Benz en Barcelona. Durante tres días, el EBM, la música industrial, el post-punk, el darkwave o el techno, entre otros géneros alternativos, convivieron en las desvencijadas instalaciones de un recinto que no podía ser más idóneo. Una nave enorme en desuso en la que no hacía falta cambiar casi nada.

Nos encontramos con un lago pasillo de acceso, ventanas rotas y pareces desconchadas. Lo que en su día parece que fueron unos vestuarios (aún pueden verse las taquillas oxidadas) se han convertido en pista de baile. OMBRA transformó ENMASA en una rave de tres días.

Excelente jornada inaugural con actuaciones conferencias y apertura de OMBRA GALLERY

El jueves 30 de noviembre tuvo lugar la jornada inaugural. En colaboración con la marca MAYAKI, OMBRA organizó un pequeño micro evento que ofreció unas conferencias, exposiciones y música en vivo.

Ximo Noguera (Industrial Complex) presentó su libro Atom™ El virtuoso Inconformista, que profundiza en la trayectoria artística de Uwe Schmidt, más conocido como Atom™. Le acompañ�� Uwe, a través de video conferencia, y unos invitados de lujo: Andrés Noarbe (Discos Rotor) y Angel Molina. Entre todos desgranaron la ecléctica trayectoria de uno de los productores más multifacéticos y versátiles de la escena electrónica internacional.

David Townsend, fundador de Townrock Energy, presentó BODYHEAT, una empresa emergente basada en sistema de generación de energía renovable a partir de las pistas de baile. El proyecto aprovecha la energía generada simplemente al bailar, transformándola en calefacción o aire acondicionado para el propio recinto. Ya está en uso en Escocia.

El artista Umwelt, cuyo nombre real es Frederic Andre Bernard Poncet, compartió su evolución en el uso de sintetizadores, con algunas fotos y vídeos de diferentes aparatos que ha ido coleccionando y con los que continúa experimentando. Durante la charla, ofreció un workshop en directo.

Finalmente, la DJ, productora Chloe Lula entrevistó al artista Ancient Methods (Michael Wollenhaupt), en una charla que recopiló algunas canciones que, de alguna forma, influyeron en su trayectoria, y que sirvió para que conociéramos las inquietudes y motivaciones del artista.

Tanto Umwelt, como Chloe Lula y Ancient Methods formaban parte del cartel del festival.

En este primer día, se inauguraron también una exposición, en colaboración con el HR Giger Museum, sobre Hans Ruedi Giger, el creador de Alien, y las instalaciones del colectivo Ex Abrupto, Evgeny Shvets, Javier Ripoll y Daniele Barbiero. De este último destacamos The Cure Division, una instalación que, a través de machine learning, combinaba en una proyección letras de ambas bandas.

Years of Denial, The Invincible Spirit y Neon Electronics, nuestros destacados por día

El cartel de OMBRA 2023 aglutinaba viejos conocidos del festival y muy variados estilos. Por supuesto con mucha presencia del sello Oraculo Records, coorganizador del festival. Por el escenario OMBRA, el principal, desfilaron artistas muy diversos. Las primeras horas del viernes, los balcánicos I Tpame I Tvrame sorprendieron con sus hipnóticos pasajes sonoros. Interesante también el proyecto, Mitra Mitra, duo capitaneado por la misteriosa vocalista Violet Candide. Junto a ella, Mahk Rumbae, cuyo proyecto en solitario, Codex Empire, también se pudo ver en el mismo escenario el sábado.

Derriere le Miroir, banda alemana con tres décadas de historia, derrocharon elegancia con temazos como Alibis. Ralf Jesek deslumbró con su característica voz y afilada guitarra. Years of Denial volvían a OMBRA, donde los habíamos visto en 2019. De nuevo se metieron al público en el bolsillo, sobre todo por la performance de su irreverente jefaza, Barkosina Hanusova. Jerome Tcherneyan despliega los beats, y ella actúa como dominatrix del escenario, cautivando con su voz y sus excéntricos bailes. Todo un espectáculo. Su prolífica discografía nos deja este 2023 un nuevo reléase, Suicide Disco Vol. 2. El siempre acertado Kris Baha cerraría el escenario el viernes.

El Operator stage deslumbró con Manisdron a primera hora de la tarde. El japonés Takafumi Okada basa su show en batería con sintetizadores, un combo explosivo. La locura de WLDV o las sesiones de grandes como Ivan Logos y Ancient Methods mantuvieron abarrotado el espacio. En Megabreakz, el tercer, y no por ello menos visitado escenario, acogió también nombres más que interesantes, como la DJ residente en Tresor, Chloe Lula.

Si el viernes había sido intenso, el sábado no se quedó atrás. Uno de los aspectos que más nos gusta de OMBRA son los horarios. En el OMBRA stage se pudieron ver Linear Movement o The Ne-21 entre los primeros. El directo de HAMMERSHØI fue un chute de adrenalina. Los franceses pusieron el escenario patas arriba. Sus líderes, Anne a los mandos y Ben se comieron el escenario. Ben, con mucha actitud y sin camiseta, lo dio todo e incluso invitó a subir al escenario a una chica tan entregada como ellos. Belgrado, unos habituales de la escena de Barcelona, cumplieron como siempre con una actuación impecable. Los franceses Little Nemo, sin embargo, resultaron algo flojos, aunque brillaron en un par de temas. The Invicible Spirit, referentes del EBM, cerraron por todo lo alto la programación del viernes. El electrizante Thomas Lüdke sacó toda su artillería con perlas como Love is a Kind of Mystery, de su proyecto Invisible Limits, o Push! El momentazo del concierto fue su cover de Atmosphere, de Joy Division, muy bien llevada a su terreno. La maravillosa Anyway, que sirvió de epílogo.

En Operator se pudieron ver el sábado a artistas como Oliver Decrow, Toulouse Low Trax, o Teslasonic, entre otros. La DJ norteamericana Andi estuvo al inicio de la tarde al mando de los platos del escenario Megabreakz, donde la mejor actuación, aunque corta, corrió a cargo de los gallegos Fotocopia. El proyecto de Teo Cid González es una suerte de punk industrial con directo explosivo que voló la cabeza del público en OMBRA.

El domingo, tercer y último día del festival, actuaron en el OMBRA stage Zona Utopica Garantita, una banda italiana que bebe de grupos como DAF. Neon Electronics, liderados por Dirk Da Davo (The Neon Judgement) y Glenn Keteleer, que también actuó en OMBRA como Radical G, demostraron por qué el darkwave y el post-punk están tan en plena forma. Estos pioneros llevan desde finales de los 90 al pie del cañón, y dieron buena cuenta de ello ante un público entregado.

Otro belga, Eric Van Wonterghem (mitad de Absolute Body Control) volvía a OMBRA un año después, esta vez como Monolith. Su actuación no pudo ser más explosiva. Artillería pesada que dejó in aliento a la masa congregada, ávida de trallazos.

Todavía había tiempo para disfrutar con Terence Fixmer o el DJ de San Francisco, Solar, y para cerrar el escenario, el brutal directo de los también norteamericanos, Spike Hellis, duo de Los Angeles que empezó su andadura hace tan solo 4 años, y resultó una grata sorpresa.

El sábado sobresalieron además Spammerheads, o Umwelt en Operator, así como Maquina Corrupta en Magabreakz.

La Sala Upload sirvió de after party tanto el viernes como el sábado, con un siempre bienvenido Curses, pinchando a altas horas de la madrugada.

Tras cinco años de trayectoria, solo resta decir ¡larga vida a OMBRA!

#festivales #cronicas

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