Sentences with phrase «installation of its video surveillance»
The biggest contract was for the multi-million dollar installation of its video surveillance system in 2,700 buses in Brisbane.
https://www.businessnews.com.au/
The Syracuse Common Council has approved the installation of video surveillance cameras in a high crime area of the city.
Not exact matches
The Bureau of Remote Wildlife Surveillance is one installation in Ecotopia: The Second ICP Triennial of Photography and Video.
Based on recent vandalism incidents involving eight school sites and buses, the grant will go toward the purchase and installation of lighting and video surveillance of the high - incident areas.
While another video, Surveillance Chess (2012), takes on similar issues of surveillance and power, the show's true centerpiece is the installation Ashley Madison Angels at Work in Berlin (2017), in which monitors set to eye level display the faces of animated Surveillance Chess (2012), takes on similar issues of surveillance and power, the show's true centerpiece is the installation Ashley Madison Angels at Work in Berlin (2017), in which monitors set to eye level display the faces of animated surveillance and power, the show's true centerpiece is the installation Ashley Madison Angels at Work in Berlin (2017), in which monitors set to eye level display the faces of animated female bots.
Dara Birnbaum, Tiananmen Square: Break - In Transmission, 1990 Five - channel color video, four - channel stereo sound, surveillance switcher and custom - designed support system, Dimensions variable Installation view at S.M.A.K. - Stedelijk Museum voor Actuele Kunst, Ghent, 2009 Courtesy of the Artist and Marian Goodman Gallery, New York / Paris / London Photo credit and Copyright: Dara Birnbaum
«Jon Kessler creates ingenious spatial scenarios by juxtaposing kinetic multimedia and video installations with a disturbingly high number of surveillance cameras.
Video installation «Dulce et Decorum Est» presented as part of Surveillance.02 a show curated by Liza Faktor and Anna Van Lenten.
Featuring work across installations, videos, websites, actions, pixellated prints and digital - oil paintings, it promises a «hyper - active, super-enhanced exploration of censorship, surveillance, torture, democracy, e-commerce, and newspeak».
Beginning in 2000, the formal and conceptual rigor, minute attention to detail and rich, sensuous imagery that characterize Gehr's work in film have become the hallmarks of his recent experiments with digital media, including the multi-channel high definition digital video installation format used in Surveillance, his 2010 commission for the Madison Square Park Conservancy.
Through an installation of new sculptures, video, and photographs, Tommy Hartung extends his investigation of mythmaking and storytelling tied to powers of surveillance, wealth, and politics.
The main body of the exhibition features contemporary works including photographs, videos, paintings, posters and installations that employ a wide range of tactics to attack, reflect upon or at any rate expose modern - day surveillance practices.
89 Landscapes (2015) is a two - channel video installation that presents a series of panoramic images of unofficial government surveillance facilities.
The installation at Metro Pictures features large scale photographs paired with detailed annotated maps, and a separate video installation of covert surveillance locations along with something called Autonomy Cube (right), created in collaboration with digital civil rights activist Jacob Appelbaum.
«Blue Room», the first institutional solo exhibition by Frank Heath, is a synchronized installation of video works connected by an ominous humor, shadowed by references to surveillance and espionage.
Considering an international array of video, sculpture, installation, photography, and web - based projects, To See Without Being Seen: Contemporary Art and Drone Warfare reveals the unique potential of art to further our understanding of — and give visual form to — drone warfare and digital surveillance in today's world.
The 1997 winner of the # 20,000 prize — sponsored by Channel 4 since 1991 — was the 34 - year - old video artist Gillian Wearing, whose video installation, 60 Minutes Silence (1996), turned the tables on police surveillance and raised tabloid-esque exposures to the status of works of art.
The exhibition features installations, videos, websites, actions, pixellated prints, digital - oil paintings and photographs in a hyper - active, super-enhanced exploration of censorship, surveillance, torture, democracy, e-commerce, and newspeak.
2005 The Rape of the Sabine Women, single channel High Definition Video Cliff House, multi channel installation 2003 89 seconds at Alcazar, single channel video based on Las Meninas 2002 Portman's Looking Glass, a 4 projector installation, 150 ft. 16 mm loop Fly Right, a video triptych of Hasidic girls playing dodge ball 2001 Solace, a short film featuring soprano Kati Agocs 2000 China White - Scenes from an exile, three screen panoramic video installation 1999 Ten Women and a Shark or 15 years in 5:30, a short film 1998 Town Topic, three channel panoramic video installation, shot at Town Topic, Kansas City 1997 How to tell the future from the past, 12 channel surveillance video installation in the Serkeci Train Station, Istanbul, Turkey The Whites were a Mystery, 3 channel video filmed in Lomé, Togo 1996 Imagining Beforehand, 3 channel video, NYC 1995 Die Platzsünde, collaboration w / Ricoh Gerbl & Ivana Mestrovic, Rome / NYC 1993 Real Time, single channel video 1989 New Koke: An Advertisement for Real Life, a short pixal - vision video w / Karen Video Cliff House, multi channel installation 2003 89 seconds at Alcazar, single channel video based on Las Meninas 2002 Portman's Looking Glass, a 4 projector installation, 150 ft. 16 mm loop Fly Right, a video triptych of Hasidic girls playing dodge ball 2001 Solace, a short film featuring soprano Kati Agocs 2000 China White - Scenes from an exile, three screen panoramic video installation 1999 Ten Women and a Shark or 15 years in 5:30, a short film 1998 Town Topic, three channel panoramic video installation, shot at Town Topic, Kansas City 1997 How to tell the future from the past, 12 channel surveillance video installation in the Serkeci Train Station, Istanbul, Turkey The Whites were a Mystery, 3 channel video filmed in Lomé, Togo 1996 Imagining Beforehand, 3 channel video, NYC 1995 Die Platzsünde, collaboration w / Ricoh Gerbl & Ivana Mestrovic, Rome / NYC 1993 Real Time, single channel video 1989 New Koke: An Advertisement for Real Life, a short pixal - vision video w / Karen video based on Las Meninas 2002 Portman's Looking Glass, a 4 projector installation, 150 ft. 16 mm loop Fly Right, a video triptych of Hasidic girls playing dodge ball 2001 Solace, a short film featuring soprano Kati Agocs 2000 China White - Scenes from an exile, three screen panoramic video installation 1999 Ten Women and a Shark or 15 years in 5:30, a short film 1998 Town Topic, three channel panoramic video installation, shot at Town Topic, Kansas City 1997 How to tell the future from the past, 12 channel surveillance video installation in the Serkeci Train Station, Istanbul, Turkey The Whites were a Mystery, 3 channel video filmed in Lomé, Togo 1996 Imagining Beforehand, 3 channel video, NYC 1995 Die Platzsünde, collaboration w / Ricoh Gerbl & Ivana Mestrovic, Rome / NYC 1993 Real Time, single channel video 1989 New Koke: An Advertisement for Real Life, a short pixal - vision video w / Karen video triptych of Hasidic girls playing dodge ball 2001 Solace, a short film featuring soprano Kati Agocs 2000 China White - Scenes from an exile, three screen panoramic video installation 1999 Ten Women and a Shark or 15 years in 5:30, a short film 1998 Town Topic, three channel panoramic video installation, shot at Town Topic, Kansas City 1997 How to tell the future from the past, 12 channel surveillance video installation in the Serkeci Train Station, Istanbul, Turkey The Whites were a Mystery, 3 channel video filmed in Lomé, Togo 1996 Imagining Beforehand, 3 channel video, NYC 1995 Die Platzsünde, collaboration w / Ricoh Gerbl & Ivana Mestrovic, Rome / NYC 1993 Real Time, single channel video 1989 New Koke: An Advertisement for Real Life, a short pixal - vision video w / Karen video installation 1999 Ten Women and a Shark or 15 years in 5:30, a short film 1998 Town Topic, three channel panoramic video installation, shot at Town Topic, Kansas City 1997 How to tell the future from the past, 12 channel surveillance video installation in the Serkeci Train Station, Istanbul, Turkey The Whites were a Mystery, 3 channel video filmed in Lomé, Togo 1996 Imagining Beforehand, 3 channel video, NYC 1995 Die Platzsünde, collaboration w / Ricoh Gerbl & Ivana Mestrovic, Rome / NYC 1993 Real Time, single channel video 1989 New Koke: An Advertisement for Real Life, a short pixal - vision video w / Karen video installation, shot at Town Topic, Kansas City 1997 How to tell the future from the past, 12 channel surveillance video installation in the Serkeci Train Station, Istanbul, Turkey The Whites were a Mystery, 3 channel video filmed in Lomé, Togo 1996 Imagining Beforehand, 3 channel video, NYC 1995 Die Platzsünde, collaboration w / Ricoh Gerbl & Ivana Mestrovic, Rome / NYC 1993 Real Time, single channel video 1989 New Koke: An Advertisement for Real Life, a short pixal - vision video w / Karen video installation in the Serkeci Train Station, Istanbul, Turkey The Whites were a Mystery, 3 channel video filmed in Lomé, Togo 1996 Imagining Beforehand, 3 channel video, NYC 1995 Die Platzsünde, collaboration w / Ricoh Gerbl & Ivana Mestrovic, Rome / NYC 1993 Real Time, single channel video 1989 New Koke: An Advertisement for Real Life, a short pixal - vision video w / Karen video filmed in Lomé, Togo 1996 Imagining Beforehand, 3 channel video, NYC 1995 Die Platzsünde, collaboration w / Ricoh Gerbl & Ivana Mestrovic, Rome / NYC 1993 Real Time, single channel video 1989 New Koke: An Advertisement for Real Life, a short pixal - vision video w / Karen video, NYC 1995 Die Platzsünde, collaboration w / Ricoh Gerbl & Ivana Mestrovic, Rome / NYC 1993 Real Time, single channel video 1989 New Koke: An Advertisement for Real Life, a short pixal - vision video w / Karen video 1989 New Koke: An Advertisement for Real Life, a short pixal - vision video w / Karen video w / Karen Hatch
Incorporating mirrors, windows, surveillance cameras, and video projectors, Graham's installations addressed the social function of architecture and television in mediating public and private life.
Incorporating mirrors, windows, surveillance cameras, and video projectors, Graham's installations from the 1970s addressed the social function of architecture and television in mediating public and private life.
SUMMARY OF CRADENTIALS * Over 5 + years of extensive experience in Fire Alarm Systems, Electronic Surveillance Systems and Digital Security Systems including (Fire Alarm Systems, CCTV Systems, Access Control Systems, Burglar / Intruder Alarm, T&A (Time and Attendance) Systems, Video Door Phone, G.P.S Systems, Gate Automation and other Electronic systems) with hands - on experience in Design, Installation, Testing, Commissioning.OF CRADENTIALS * Over 5 + years of extensive experience in Fire Alarm Systems, Electronic Surveillance Systems and Digital Security Systems including (Fire Alarm Systems, CCTV Systems, Access Control Systems, Burglar / Intruder Alarm, T&A (Time and Attendance) Systems, Video Door Phone, G.P.S Systems, Gate Automation and other Electronic systems) with hands - on experience in Design, Installation, Testing, Commissioning.of extensive experience in Fire Alarm Systems, Electronic Surveillance Systems and Digital Security Systems including (Fire Alarm Systems, CCTV Systems, Access Control Systems, Burglar / Intruder Alarm, T&A (Time and Attendance) Systems, Video Door Phone, G.P.S Systems, Gate Automation and other Electronic systems) with hands - on experience in Design, Installation, Testing, Commissioning...