#video object

I can see the Water the Sand and I can not see the thing that carries the water

cut open made glass hardened transparency

it’s sensative.

withholding is exhibit,

navigating through unnamed destinations,

trying to decifer erased directions

i just guess, touch and feel.

when you’re always in between you recognize the

threshholds

im a follower of

signals

of sorts

feelings of being close

to something singular

when you’re multiple you understand that

there is no such thing as mutual understandings

the only ones we share are the ones we

narrate in languages built out of not naming

speed

velocity

you cannot name the object you cannot see

this infrastructure is the given

invisible until it fails

what a tender unfeeling

you can look and still be given nothing

but power hiding behind speed.

I am a body standing on top of something enormously consequential

and I feel mostly the wind

you know you can ask what the cable is for and they will tell you it’s not a cable it’s a border

it is a conductor it sees itself as a conductor.

I want to be encrypted too.

my sensitive parts rooted under something enormously impatient,

but no one is allowed to photograph.

like the sand that keeps a shape of machines and causes a memory foam.

memory calling the shoreline

I love the low tide.

But nobody seems to look these days.

You can’t really

cause there’s borderers not cables

cleared of all charges.

These things only exist in transit packages

shaped across three routes, reassembled.

There’s a whole category collapse of protection and secrecy.

you know, velocity is also a form of anesthesia

and nothing can be hurt at that speed

‘cause nothing is anywhere long enough

and I stand there where the land ends and the bond begins

and my body is the only thing there without redundancy.

am I allowed to take photos here or no?photos of what? No, there is nothing here so what do you want to take pictures of?

They keep saying it’s sensitive.

The site is sensitive.

Information is sensitive.

I begin to understand. This is a diagnosis we share.

But what is so interesting about this?

I cannot answer without becoming more suspicious.

I say the birds in the trees

I feel sketchy for looking

the infrastructure is done and it’s not moving and I’m the one who’s blushing and I cannot move either.

This is a border they say and there’s no line anywhere there’s just a shore in the water and a big fat black cable.

The man is having a picnic in front of the landing side this is the most classified view in the country and he chooses it for lunch and that is maybe the correct relation maybe devotion looks like this maybe devotion is not asking

coming to light without being there.

A landing without an arrival asking permission has taught me that the shape of the thing is better than seeing

I see every no as a measurement.

there’s all this talk about the clouds when the clouds are underneath the shoreline. I was going to negotiate the poetics of the landing site

sensitive

capable of being hurt,

sensitive,

capable of hurting others

if disclosed the word cannot decide

Untitled (it’s sensitive) 2026

Developed at Tropical Lab 20 residency at Lasalle College Of The Arts, Singapore

A Multiplication-Free Algorithm and A Parallel Architecture for Affine Transformation

Affine transformation is widely used in image processing. Recently, it is recommended by MPEG-4 for video motion compensation. This paper presents a novel low power parallel architecture for texture warping using affine transformation (AT). The architecture uses a novel multiplication-free algorithm that employs the algebraic properties of the AT. Low power has been achieved at different levels…

A Multiplication-Free Algorithm and A Parallel Architecture for Affine Transformation

Affine transformation is widely used in image processing. Recently, it is recommended by MPEG-4 for video motion compensation. This paper presents a novel low power parallel architecture for texture warping using affine transformation (AT). The architecture uses a novel multiplication-free algorithm that employs the algebraic properties of the AT. Low power has been achieved at different levels…

A Multiplication-Free Algorithm and A Parallel Architecture for Affine Transformation

Affine transformation is widely used in image processing. Recently, it is recommended by MPEG-4 for video motion compensation. This paper presents a novel low power parallel architecture for texture warping using affine transformation (AT). The architecture uses a novel multiplication-free algorithm that employs the algebraic properties of the AT. Low power has been achieved at different levels…

I realize it's not 2009 and that as a developer/decent person, my supporting fallback for Internet Explorer 8 is not helping push technology forward.

But hear me out (pity not required). Unfortunately a lot of larger companies (like my current employer that I love) – have a foundational network riffled with company laptops so intwined with these dinosaurs, it's unthinkable not to support it. And at least it's not IE7...

I'm all for utilizing delivery services, especially ones like YouTube that have a major handle on such time-wasters like IE8 video player fallback. Unfortunately that was not an option recently when it came time with this new video request and it's been so long since a requirement was received to self-host a video that I thought better than ripping some old code from a years old project. 

So here it is, a simple HTML5 embedded video with IE8 object fallback support. And hopefully no more "where are the damn player controls?".  

Grab/Save/Link:

http://releases.flowplayer.org/js/flowplayer-3.2.13.min.js

http://releases.flowplayer.org/swf/flowplayer-3.2.18.swf

Code:

clemens made a new chair. in red.

I was asked to do a video installation for “Museum der Gefäße” curated by Nicola Lepp and Nina Wiedemeyer, which was part of Probebühne 1 at Humboldt Lab at the Ethnologische Museum Dahlem, one of my favorite museums.

We (camera: Daniel Möller, sound recording: Hannes Marget, specialist from the museum: Patricia Engelhardt,) were allowed to fill water into 20 Moche-vessels, which are about 2000 years old. Some of them start to whistle and to howl. The seal almost made us cry.

With that video-material i made a kind of “fountain of vessels”, continously pouring and catching water.

Reviews: taz, Kulturportal,  Sprache der Dinge

David Hanes