#building information modeling services Christchurch

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[atlelectrical]

Key Factors to Consider When Investing in Heat Pumps

Are you considering investing in a heat pump to provide year-round comfort in your home or commercial space? Heat pumps offer efficient heating and cooling solutions, making them a popular choice for many property owners. However, before making this investment, there are several key factors to consider to ensure that you select the right system for your specific needs. 

In this blog post, we'll explore the essential considerations when investing in heat pumps, with a particular focus on Daikin heat pumps Christchurch has to offer for year-round comfort.

Understanding Your Heating and Cooling Needs

Before diving into the world of heat pumps, it's crucial to have a clear understanding of your heating and cooling needs. Consider the size of the space you intend to heat or cool, the climate in your region, and your energy efficiency goals. By identifying your specific requirements, you can narrow down the options and select a Daikin heat pump that aligns with your needs.

Energy Efficiency and Environmental Impact

In today's environmentally conscious world, energy efficiency and the environmental impact of HVAC systems are significant considerations. Daikin heat pumps are known for their energy-efficient performance and eco-friendly design. When evaluating heat pump options, look for models with high Seasonal Energy Efficiency Ratio (SEER) and Heating Seasonal Performance Factor (HSPF) ratings, as these indicate superior energy efficiency. Additionally, consider the refrigerants used in the heat pump systems to ensure they align with environmental regulations and sustainability goals.

Quality and Reliability

Investing in a heat pump system is a long-term commitment, so it's essential to prioritise quality and reliability. Daikin heat pumps are renowned for their exceptional quality, advanced technologies, and reliable performance. When researching heat pump options, pay attention to the reputation of the brand, the warranty offerings, and the overall build quality of the systems. Choosing a reputable and reliable brand like Daikin can provide you with peace of mind regarding the longevity and performance of your investment.

Installation and Maintenance Requirements

The installation and maintenance of a heat pump system play a significant role in its effectiveness and longevity. Prior to investing in a heat pump, consider the installation requirements, including the space needed for outdoor units and any specific considerations for indoor unit placement. Additionally, factor in the maintenance needs of the system, such as regular cleaning, filter replacements, and potential professional servicing. Daikin heat pumps are designed with user-friendly installation and maintenance in mind, making them an attractive option for hassle-free ownership.

Smart and Connected Features

As technology continues to advance, many heat pump systems now offer smart and connected features that enhance convenience and energy management. Daikin heat pumps incorporate innovative technologies for seamless integration with smart thermostats, remote control capabilities, and energy usage monitoring. Assessing the smart and connected features of heat pump systems can contribute to a more efficient and intuitive heating and cooling experience for homeowners and occupants.

Budget and Total Cost of Ownership

While the initial cost of a heat pump is a significant consideration, it's essential to evaluate the total cost of ownership over the system's lifespan. Consider the long-term energy savings, potential rebates or incentives, and the estimated lifespan of the Daikin heat pumps Christchurch models you are considering. By assessing the overall financial impact of your investment, you can make an informed decision that aligns with your budget and financial goals.

Professional Guidance and Installation

Navigating the world of heat pumps can be overwhelming, especially for first-time buyers. Seeking professional guidance from HVAC experts and certified installers can provide valuable insights into the most suitable Daikin heat pump for your property. Professional installation ensures that the system is set up correctly, maximising its efficiency and performance while minimising the risk of potential issues.

Conclusion

Investing in a heat pump, particularly a Daikin heat pump, requires thoughtful consideration of various factors to ensure that the chosen system meets your specific requirements for comfort, efficiency, and reliability. 

By understanding your heating and cooling needs, prioritising energy efficiency and quality, evaluating installation and maintenance requirements, exploring smart features, considering the total cost of ownership, and seeking professional guidance, you can make an informed decision that enhances the comfort and value of your property.

Whether you're looking to upgrade your existing HVAC system or embark on a new construction project, the right Daikin heat pumps Christchurch can be a game-changer in providing consistent and energy-efficient heating and cooling. Remember, investing in quality and reputable systems like those offered by Daikin can lead to long-term satisfaction and comfort for years to come.

Source By : Key Factors to Consider When Investing in Heat Pumps

[certaincherryblossomtimemachine]

The benefits of Hiring a social media Agency

When it comes to social media marketing, hiring an agency can be beneficial. Instead of managing your own accounts, an agency will handle your social media strategy, paid ads, and community management. The agency will provide you with weekly, monthly, and quarterly reports about your campaign's progress. They will also provide you with content to keep your brand at the forefront of your customers' minds.

These agencies handle all aspects of social media marketing. The agencies start by developing a brand strategy, then create content and distribute it on various social media channels. Many of them specialize in advertising, so they can provide advanced features such as audience targeting and custom-built ads. They can also help you build and maintain a strong presence on social media sites.

A Social Media Marketing Agency Christchurch can also handle large budgets. They can also handle payments and invoicing, and they can keep their clients informed on their campaigns. They can also take on complicated tasks, such as influencer marketing, which can involve finding and paying influencers all over the world. They can also handle shipping your products around the world.

The social media marketing agency you hire should have a website featuring testimonials from existing clients. This is a great way to demonstrate your expertise, as it provides social proof. If you're just starting out, testimonials and case studies are the best way to build credibility. Whether you're a small start-up or an established brand, social media marketing is a crucial aspect of gaining credibility. The social networks are where prospective clients will look to get an idea of the type of service you provide.

Social media marketing agencies use a variety of tools and production studios to create eye-catching graphics and videos. The agency also analyzes social media analytics and adjusts their strategy based on their findings. A social media marketing agency will also produce a customized dashboard for you to see how well your campaign is doing.

Hiring an agency for your social media marketing strategy is a great way to get the results you need without the hassle. These agencies can take care of the nitty-gritty details of your campaign, which means that you can focus on developing your product. A social media marketing agency can also provide your business with creative input and help you develop a social media strategy that will increase sales and traffic.

A good social media marketing agency should offer a variety of pricing options. The price will depend on the type of services and the business model. Some may charge hourly for their services, while others may charge by the project. An hourly rate is usually applicable for projects that require a significant amount of time. Hourly rates are usually more suitable for part-time employees and freelancers. Those looking to hire a social media marketing agency should consider how much time each client will require.

A social media marketing agency should provide its clients with a social media proposal. This is a document that outlines the goals and objectives of the client and highlights how the agency can achieve those goals. This is a key part of the client acquisition process and will help convince prospective clients to hire their services. The social media marketing proposal should be a thorough overview of your services and the results you hope to achieve with them.

#Digital Marketing Agency Christchurch

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[scifigeneration]

‘Black Mirror’: the dark side of technology

by Oihab Allal-Chérif

Season 5 of Black Mirror begins on June 5, 2019. Allocine

(translated from French)

Because technology as its main character, Black Mirror is one of the most fascinating yet disturbing series of the last ten years. Fascinating, because viewers can easily identify with most situations. Disturbing, because the technology is hostile: addictive, invasive, spy, alienating, psychopathic, apocalyptic… Since Netflix broadcast the trailer for season 5 of Black Mirror on May 15, to launch on June 5, viewers have been eagerly awaiting the series, which, in very few episodes, has inspired the public, and many other shows.

Black Mirror season 5 trailer.

An original concept for a powerful message

Launched in 2011, Black Mirror not only aims to entertain, but it also invites us to think about how technology can harm society and transform our behaviour. Each episode shows how an existing technology could evolve in the near future, for better, or especially for worse. Technology can be dangerous in itself, but more often malicious designers or users use it to manipulate, humiliate, coerce, enslave or kill.

In Black Mirror, the situations are familiar, but are pushed to the extreme, provoking anxiety, destruction and even death. Each episode is independent, with its own universe and style, though clues sometimes link them. The topics covered include the obsession with celebrities, reality TV, social networks, video games, smartphones, and pornography; the end of private life; robots and androids; social and commercial profiling; fake news and opinion manipulation; dating sites and matching systems; immersive augmented reality; cybersecurity and cyberbullying; the transfer of memory or consciousness into a machine; and transhumanism.

One of the most iconic Black Mirror episodes is season 1, episode 2, “Fifteen Million Merits”. It presents a world close to the description of philosopher Herbert Marcuse, in which humanity is enslaved by mass media, advertising and industry. The main character, Bing, spends his days pedalling an exercise bike in front of a television screen, like the whole of the middle class. He earns credits, called “merits”, to buy products or services. In this materialistic society, where technology dominates and corrupts, everyone is constantly being filmed. Reality TV and gaming are the only entertainment, and fame the only ambition. Not using pornography is a crime. Although Bing wants to revolt and denounce the system that oppresses him, he eventually becomes part of it, abandoning his morals for a comfortable life.

The most powerful moments in Black Mirror, episode “Fifteen Million Merits”.

From horrifying science fiction to tragic reality

While Black Mirror seems to unfold in the near future, the show depicts worrying current trends. Its creator, Charlie Brooker, surfs the technological news, cleverly incorporating it into terrifying scenarios. While these fantastic stories may seem exaggerated, technology, particularly digital technology, is increasingly used in crime, is responsible for multiple pathologies, and causes geopolitical conflict, the drift toward authoritarianism and social deterioration. Black Mirror prophecies that have come true are the subject of heated debate.

The perverse behaviour presented in several episodes of Black Mirror can be observed on social networks. On May 15, a 16-year-old Malaysian teenager committed suicide after asking her Instagram followers if she should live or die, because 69% told her to end her life. Facebook has also been blamed for broadcasting live 17 minutes of the March 15 attacks in Christchurch, New Zealand in which 51 people died. Black Mirror repeatedly illustrates the morbid, sordid tastes of many anonymous online viewers, as in the very first episode.

Black Mirror, trailer for the “National Anthem” episode.

A futuristic show that questions the present

Season 3, episode 1, “Nosedive” describes an oppressive society where everyone constantly grades other people’s words, actions, and publications on a five-point scale. They are equipped with eye implants enabling them to see the grades of those around them. This satire on a society where everyone is obsessed by their own image criticises superficiality and the need to portray oneself positively to obtain other people’s approval. The episode illustrates perfectly the consequences of China’s “social credit” system, which monitors and records the entire population in real time to “improve” behaviour and strengthen the regime.

In season 3, episode 2, “Playtest”, a gamer tries an experimental video game that kills him in a few milliseconds. The guinea pig is equipped with a virtual reality headset and a neural implant. The implant hacks his brain and generates images based on his fears and physiological data. The episode warns against giving developers control of human senses, and about the immersive, invasive technologies that are the future of video games. “Playtest” was first broadcast on Netflix on October 21, 2016, a few months after the release of the Facebook Oculus Rift Headset on March 28, 2016.

Season 4, episode 5, “Metalhead”, describes a post-apocalyptic world, where intelligent killer dogs hunt humans. This is a direct reference to the company Boston Dynamics, which Google sold in 2017 to the Japanese group Softbank. In the series, these dogbots appear on building sites and in public, but the project was initially a partnership with DARPA (Defense Advanced Research Projects Agency), a US military R&D agency.

Fiction: special effects in the Black Mirror episode “Metalhead”.

Reality: Boston Dynamics robot testing at construction sites.

Imitated but never equaled

The Season 5 promotional campaign reminds us that the series has changed its viewers’ perceptions of the world and has received multiple prizes, including Emmys and BAFTA Awards. The reviews are excellent, with an overall score of 8.9/10 on IMDb.

Similar shows have tried to imitate the success, such as the miniseries Electric Dreams, based on sci-fi author Philip K. Dick’s short novels, many of which have been adapted for the screen. Considered a clone of Black Mirror, Electric Dreams was first aired on Channel 4 in Britain, like its model. Amazon Video acquired the US rights, and with Bryan Cranston as executive producer and an all-star cast, the series was successful, but did not attain the cult status of Black Mirror.

Westworld also seems strongly influenced by Black Mirror. Its first two seasons focused on robotics and transhumanism. HBO has just released the trailer for the third season, planned for 2020, in which a new character, played by Aaron Paul (who played Jesse Pinkman in Breaking Bad, and who performed a voiceover in an episode of Black Mirror) condemns the false promise of a better world made to justify the technological development and commercialisation of servo devices.

Black Mirror has often been compared to The Twilight Zone in the 1960s, and is probably at the origin of its reboot, although the showrunner Jordan Peele – author, director and producer of the thrillers Get Out and Us – denies the similarity. Jordan Peele is also co-author of the series Weird City, released on February 13, 2019, on YouTube Premium. Its well-chosen guest-stars present the dangers of technology with more humour.

AMC, which broadcast popular series like Mad Men, Breaking Bad and The Walking Dead, has commissioned a new series for 2020 from Will Bridges, one of the authors of Black Mirror, that will focus on a dating technology that finds your soul mate. Since the original is often better than its copies, let’s hope that Netflix will produce many more seasons of Black Mirror.

About The Author:

Oihab Allal-Chérif is a Full Professor of Information Systems, Purchasing and Supply Chain Management at Neoma Business School

This article was republished from our content partners at The Conversation under a Creative Commons license. 

#science fiction #science fiction and fantasy #scifi tv #Netflix #Black Mirror #black mirror season 5 #technopolitics #social media #scifi in society #featured

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[bridgescare]

Finding anNDIS Provider in Rouse Hill

The North East is home to one of the fastest growing National Diversified Insurance Service Areas (NDIS) in Australia. It is home to more than half of all the road construction in the state. The growth of the NDIS provider Rouse Hill has been driven by high demand from overseas investors, a rapidly growing population and an increasing interest from motorists in buying long term overseas road tax free travel passes. The area covers Christchurch, Westport, Queenstown, Kaikoura, Nelson, Christchurch and Queenstown. The main areas of growth are in the coastal and inland regions with more traditionally rural and remote areas also growing fast. The overall population continues to outpace the rate of increase in houses for many years, but the pace of urban expansion is picking up.

If you have considered purchasing a car in New Zealand then you need to think about investing in an automobile insurance product that offers a comprehensive New Zealand coverage. If you want to drive on the roads in NZ and you have bought a new motor vehicle, you will need an adequate level of protection from third party liabilities. You need a motor vehicle liability (MVL) that offers a good level of protection for your car and other assets. An excellent provider of motor vehicle insurance in New Zealand is Fightress. The company is associated with several large insurance providers including Allianz CTP, AIG, CMS, INSET, Munich Re, Puma, and Unicare. The products they sell are backed by highly competent and experienced attorneys who are committed to customer service and value added services.

In the business of selling insurance, you need a trusted and reliable service provider with an extensive network of agents to assist you in making the right decision. Fightingress provides a comprehensive range of services for property, casualty, consumer, and liability insurance. They are based in Auckland and provide a range of insurance products and underwriting solutions. They work with a network of financial institutions including banks and building societies to name just a few. They are committed to providing the best quality service to their customers.

As an insurance provider in New Zealand, you will have access to an array of solutions for all your needs. Your insurance provider in NZ should have the technical skills, the knowledge, and the ability to effectively manage your liabilities under the law. It is important that you find a provider that has good market access so that your policies reflect your changing needs and your investment objectives. Having access to a range of options for liability cover, with reasonable levels of service and reliability is key to a sound business model.

An excellent provider of commercial motor vehicle insurance in NZ is MMA Insurance. With strong industry connections and experience in the motor vehicle insurance industry, MMA is a secure and reliable provider of insurance products for commercial use in New Zealand. They have branches in Kaikoura, Hamilton, Queenstown, Pounamu, and Queenstown. They cater for the needs of small, medium and large businesses and individuals.

If you are looking for a high level of cover at a competitive price, you need to consider AIG Insurance. AIG specializes in providing comprehensive and collision vehicle insurance for all sizes of businesses. Whether you own a small business that needs cheap insurance or you own a larger business that requires more cover for a variety of reasons, AIG can provide you with what you need at a price that you can afford. They also offer flexible plans that will meet your business needs.

The internet is the best way to find out more about your insurance provider in NZ. In particular, you should research the website of AIG Insurance to learn more about their range of products and services. You can also contact them via email or phone to get more information on different ways in which you can save money and get the best insurance coverage for your motor vehicle needs. If you are a skilled driver with a clean driving record, you may be eligible for additional discounts on your premiums from your insurance provider. If you are concerned about your position and are unable to obtain more competitive rates on your insurance coverage, talk to an experienced motor vehicle solicitor today.

Finding out more about motor vehicle insurance in NZ is easy if you know where to look. Take time to review your existing insurance policy and consider any other options that may be available to you. If your current motor vehicle insurance provider is unwilling or unable to provide you with the coverage you require, it may be time to switch vehicles and take your business to an experienced and reputable provider with a comprehensive range of insurance services. Regardless of the reason you are considering changing your vehicle insurance, contact an experienced motor vehicle lawyer today to discuss your options.

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[coca-chch]

Redrawing boundaries: Fieldwork in the context of Ōtautahi

Exhibition companion essay commissioned by Toi Moroki CoCA from Bojana Rimbovska on the occasion of Peter Robinson’s Fieldwork, 3 March - 27 May 2018. Full exhibition photos can be viewed at fieldwork.website; photos in this essay by Daniela Aebli, courtesy of CoCA & Peter Robinson

Scattered across, between, and outside of CoCA’s gallery spaces are Peter Robinson’s delicate wire forms. Each holds their space within the demanding environment of CoCA’s brutalist building which has played host to a variety of exhibitions throughout its fifty-year history, and is again activated through Robinson’s playful spatial interventions. Evident in the exhibition are some common threads which have carried throughout his recent practice, namely his interest in the ways in which spatial arrangements are used to create new lines of sight and lead to a more conscious interaction with the gallery space. Fieldwork also invites the audience to engage in a conversation around the language of sculpture, and presents Robinson’s ongoing exploration of artistic convention and our consumption of it. It is an exhibition which is grounded: grounded in Ōtautahi – a place that connects to his own history as a boy growing up in Canterbury and his training as an artist, grounded in the space of the gallery – which becomes expanded and reconsidered as a site – and grounded in the space between work and viewer where meanings are continually being negotiated and constructed.

Fieldwork marks Robinson’s return to Ōtautahi, this being his first solo show in the city since the earthquakes. In 2017, he was a contributing artist to the Paemanu: Nohoaka Toi exhibition (also held at CoCA), which saw his brightly coloured felt forms hanging high and low on the gallery walls as if bouncing around the space. Fieldwork, however, offers a new body of work, one which Robinson has developed directly in response to the site. Woven throughout it are purposeful connections to the region that reference his personal history and gesture towards an exploration of twentieth century art historical discourse. Having grown up on a farm in Ashburton before moving to Ōtautahi to study at the Ilam School of Fine Arts, this idea of ‘fieldwork’ seems appropriate as a title and a concept through which to consider his work. It references a landscape – multiple landscapes in fact – as he constructs visual fields which are sparsely punctuated by his sculptural forms on the floor, walls and ceilings, and follow no discernible pattern while continually disrupting your gaze as you move through the space. One work in particular evokes the farming fields of the Canterbury plains, as hundreds of silver galvanized wires have been haphazardly placed on the ground mimicking a pile of hay. The lustrous quality of the wires reflects the light and catch the eye from a distance, again bringing attention to the expansive space which they occupy. The hanging grids which dominate the space in the Mair gallery can also be read as alluding to the grid layout of the city. They create a referential landscape that connects to the colonial history of Ōtautahi and ground the exhibition within the city, past and present, as the gallery itself has not shifted from its original position within the four avenues.

Furthermore, the materiality of the works themselves contribute to the construction of invisible fields, such as those created by the magnetic sculptures in the exhibition. These magnetic components literally anchor the works in the space as their magnetic attraction is often solely responsible for their attachment to the building and between the individual components of the work itself. This makes their position precarious, and subject to the viewer’s understanding of the forces at play as some people, for example those with pacemakers, will be directly impacted by something that remains invisible to the eye but dictates their movement through the space.

‘Fieldwork’ as a title also frames the exhibition in a way which acknowledges the processes behind its making. In the lead up to the instillation, Robinson made multiple visits to the gallery to explore the building and surrounding areas, which have changed considerably over time.  This research-based approach around the context that he is working within extends beyond the physical and considers the many artistic influences which inform his practice. Artists such as Richard Tuttle and Nora Schultz, whose sculptural practices incorporate found or readily available industrial materials like metal rods, tubes, and discarded wood which combined with the simple manipulation of these materials within the gallery space brings them into conversation with Robinson’s work. The audience too becomes an important part of this conversation. Thinking about the concept of fieldwork in relation to this exhibition clearly positions the audience as active participants in the collection and use of the information presented throughout it. Visitors to the gallery are bringing their own bias and knowledge into the space and drawing their own conclusions. It is a reminder that the nature of fieldwork – and the way we experience art of any kind – is always multi-directional and subjective as it is unable to be removed from the self. This element of self-reflexivity is encouraged as it makes space for constant reinterpretation of the works and acknowledges both internal and external influences which frame peoples experience of the exhibition.

Fieldwork also offers a refreshing treatment of the gallery space which has previously hosted massive and highly immersive exhibitions. The brutalist building – a fine example of the Christchurch Style and designed by Minson, Henning-Hansen and Dines – was purpose built as a gallery, and as such, offers a lot of light, height, and wall space with which to play around with. At first, Fieldwork appears to push back against this by having works that appear disproportionate in scale to the space and some that are scattered in dimly lit corners or obstructed by the architecture itself. Such tactics bring attention to the architectural features of the space which might otherwise go largely unnoticed or be perceived as being disconnected from the works on show. Robinson’s sculptural forms respond to the architecture in playful ways and remind the viewer that this is an active space. Long, textured, and anodized aluminium rods lean against the corners of the gallery and draw the eye up towards the ceiling, emphasising the point at which the two walls converge. Similarly, the wire work in the Ground Floor Gallery which is attached to a metal sprinkler pipe on the ceiling, as well as the work situated in the lift, bring attention to the services of the building and hint at its human occupation. Being reminded of this as people make their way around the show acknowledges the fact that it is more than an exhibition space – it is a workplace, a site of leisure and entertainment, and a site with its own history of which Fieldwork is only a small part of.

In other ways, the interplay between the sculptures and the architecture can also make something less visible. For example, a work made from very thin white wire blends into the surrounding white wall and is only revealed when people move closer to it. Another sculpture sits on the stairs between a wall and a glass divider and its reflection, as opposed to the object itself, is slowly revealed as people turn the corner. The careful placement of these works encourages people to slow down and consider them more closely, which is refreshing given the fast-paced approach to almost everything else in modern society. This idea of objects hiding in plain sight also contributes to the sense of playfulness that runs throughout the exhibition and it reminds us how reliant we are on the cues given by the built environment when navigating the space.

In a more subversive move, Fieldwork spills outside the galleries and pushes back against the museological convention of displaying works within a few designated areas. There are sculptures scattered throughout the building that occupy liminal spaces such as stairways, toilets, a fire corridor, and a balcony. Some of the works are easy to spot and draw attention to themselves through their bright colouring and prominent placement, but others are tucked away in dim or inconspicuous corners of the building which have been previously inaccessible to the general public. Free movement throughout the entire space is encouraged but is again mediated in subtle ways, and perhaps carries with it some anxieties around encountering these sculptures in places that might not necessarily be seen as ‘spaces of art’. Gallery maps and arrows also guide people to the works like a treasure hunt which removes the possibility of a chance encounter, and glass doors and rope barriers section off specific works from the viewer. The responsive nature of this exhibition means that the architecture has a large role in dictating the placement of the works and therefore should not be seen as something which is independent from the rest of the exhibition. By having works scattered throughout the building, the space is conceived of as a whole and people are invited to examine the gallery space in greater detail and look at it more conceptually, question where it begins and ends (if such judgements can be made at all), and consider why this ambiguity might be uncomfortable given the lasting influence of the white cube model of display.[1]

As a viewer, it’s impossible to remain passive when encountering Fieldwork. Curiosity, and to a degree, confusion encourage people to look closer, move further into the field laid out in the space, and decipher in their own way the visual language presented by Robinson. The participatory quality of the show is best demonstrated by the heightened sense of bodily awareness people gain when attempting to navigate the space. Their carefully choreographed movements are interrupted by moments of unpredictability when they are ambushed by a work as they turn corners, open doors, or shift their gaze. Even private moments are fair game with works waiting to be uncovered in the toilet cubicles. Such encounters urge visitors to spend time with the work and find their own ways of connecting to it. The exhibition is participatory not in the sense that it is tactile, but because it acknowledges that looking is not a passive act, particularly when followed by a conscious effort to comprehend what is in front of us, how it is framed, and how this feeds into the overall perception of the exhibition.

Although the element of surprise is, for the most part, a luxury afforded to first time visitors to the exhibition, Fieldwork continues to offer new ways of interacting with space and form with every visit. By occupying what is often considered to be an authoritative cultural space, his forms may appear certain in their status as ‘art objects’ within the gallery, but they are bringing into question the space itself and reflecting on the histories of modernist sculpture which are entangled with contemporary art spaces and practice. CoCA, with its long history in Ōtautahi and an institution which has found its place in Robinson’s own career as a Fine Art student and now as a practicing artist, seems like an appropriate setting for these conversations. The thoughts which arise from spending time amongst Fieldwork are not always coherent, but nor do they have to be. As a visitor, any frustration at this incoherence or the caution with which you have to move throughout the space and be constantly alert is undercut by the sense of playfulness of being caught in a perpetual game of hide-and-seek with his sculptures.

[1] The ‘white cube’ model has become the most common method of displaying modern and contemporary art in the Western museological tradition. It is often characterised by galleries with white walls, even lighting, ample room between artworks, and offers minimal descriptive information about the works on display. Its supposed neutrality has been (and continues to be) heavily critiqued, however, the ideology of the white cube remains pervasive today. For a detailed discussion into the development of the white cube as a display format please see Brian O’Doherty’s essay “Notes on the Gallery Space” in his book: Inside the White Cube: The Ideology of the Gallery Space. Available here: http://arts.berkeley.edu/wp-content/uploads/2016/01/arc-of-life-ODoherty_Brian_Inside_the_White_Cube_The_Ideology_of_the_Gallery_Space.pdf

#art #essay #contemporary art #minimalism #CoCA #Centre of Contemporary Art #Christchurch #New Zealand #Peter Robinson #Fieldwork

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10 Signs You Should Invest In Scofield Stamped Concrete Color Chart

Acid stains undoubtedly are a organic product or service that contains metallic salts and acid. They are doing come in a confined number of colours (all-around 6). They include dark browns, rusty browns and blueish-inexperienced hues. Do Keep in mind that these colors is usually put together to make some incredible effects that should have you continually watching your flooring.Also, since the stain reacts differently according to the area it really is applied to, the concentrations in the floor, or maybe the drying time, no two Careers will ever look similar. This is all part of the appeal of a wonderful Acid Stained Floor.

Stains - These are generally used after the concrete has cured. This produces a very all-natural look with a great deal of color versions.

Use the shape beneath to filter by color or title. To apparent the filter, leave the sector blank and click on the “Filter” button. Click any color sample below to check out specific information about that pigment.

Invite considered one of our stamped concrete design specialists above and let us have have a look at your job. They will Provide you a good deal of advice and ideas that will help your pool, walkway or patio project become a fantastic results.

E & J concrete set up a patio, walkway on aspect of your garage and replaced several of the side walk before your house. Additionally they graded the back lawn and removed the superior places in preparing for just a drain program.

Frequently push tamper in excess of your entire area of every stamp to push it to the concrete. Clear away initially stamp positioning it on the other facet of next stamp. Tamp the stamp in place. Repeat this process, alternating the stamps throughout the overall width of the walkway.

A Ornamental Concrete Overlay is a very flexible, tough wearing item used in both equally inside and exterior purposes. It truly is produced up of large toughness cements, selected sands, and top high-quality polymers. At FLASH, we utilize it in more purposes than every other. We will resurface your present damaged or new concrete to bring it back to daily life. The design choices are substantial. Cracks might be repaired after which the broken surface is usually relevelled, then a designer major coat is put in to provide the appear of slate tile, granite, brick, stone or timber. Then borders and personalized motifs might be added just to name a couple of alternatives. Even spots with really significant cracks can be purchased again to lifetime by means of our faux stone program.

Individual stone models aren’t the most secure option within a city like Christchurch which activities standard tremors. For the reason that our blend is lightweight and typically pinned as a result of to your sound composition (not just about the floor) of the wall, item can be put in at nearly 30mm in depth, and may be put in about almost any surface which include concrete, brick, gib-board, fibro-board or current tile. Also because of the depth it truly is applied, it offers the installer the ability to carve and texture to great depth. It could be formed and coloured to seem like stone, timber, deep rock textures and more. The performs are then coloured and stained to simulate the looks of the actual thing.

Use Wooden Plank concrete stamp instruments build the texture and features of authentic Wooden plank floors -- but with no maintenance and routine maintenance problems with wood.

In many conditions, self-levelling toppings provide a purely utilitarian function, for example correcting uneven or destroyed flooring, or serving being an underlayment for tile, carpet, or other ground coverings. But You may also use self-levelling overlays for decorative purposes by incorporating integral colour to your self-levelling procedure, or by maximizing the overlay employing stains and dyes.

A few dimensional stamped concrete is called artificial rock which mixes a stamped concrete system with hand sculpting with the concrete. Integral colour will not be employed for this software but in its place a drinking water dependent paint process or acid stains are used.

It's possible if we phone about for a few quotes they should be able to make clear it a great deal much better, so we know which colors to choose or if stamping will do the job superior for our again patio.

Stamped concrete can be designed in whichever way that fits your preferences and Tastes. As abovementioned, stamped concrete might make ordinary concrete resemble some exotic products like slate. You may be absolutely spoilt for selection- of that you're certain!

Using the thinner overlay content, "the effects of your acid stain will likely be much more consistent since we Regulate what is actually from the bag."

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[centralinnovate]

How creating a BIM Handbook can benefit your business

The creation of a BIM Handbook – outlining the execution of BIM technologies, the various issues associated with their implementation and how these can positively impact workflows – can save time and money by facilitating greater understanding among key collaborators within a project. Internal staff and external teams can gain greater appreciation of what is required from each other, resulting in more efficient streamlining of processes.

  Jonny Breen, IT and CAD Manager for NZ-based Context Architects, talks about some of the challenges of putting together the firm’s BIM Handbook and the benefits that have flowed from it.

“The key challenge was aligning our internal teams,” Jonny recalls. “When we set out to create a BIM Handbook we found each lead architect had a different preferred setup and each designer had a different methodology for using BIM or different idea of how it should be used.

“So we created an initial draft of what we thought the standards should be, then met with the lead decision-makers so they could have input and come to agreement. It was important that everyone had the chance to provide feedback so they all felt part of the process, which resulted in greater buy-in to the finished product.”

It took Jonny around 30-40 hours over a month to compile and finalise the Handbook content. “We had seven people, including myself, from our Auckland and Christchurch offices involved in creating it.”

Jonny describes the Handbook as ‘output-focused’, in keeping with Context’s corporate philosophy of putting clients first: “A lot of firms are pushing BIM because it has marketing mileage, but our focus is on the benefits to clients. We want to ensure that whatever we give to our clients is of a consistently high standard, regardless of software – we want our design drawings to all look the same and evoke a consistent brand identity.

“From a business perspective the key benefit is efficiency – having an agreed BIM standard helps us deliver our products and services as quickly and efficiently as possible. It has led us to devise a smarter template which has everything the team needs to create consistently powerful models so that when anyone in our team undertakes a project it’s easy to comply with our procedures and standards. This enables everyone to work faster and produce a better output, which increases our bottom line.”

Jonny says awareness of BIM is very high in New Zealand, thanks in part to a push from Government committees like BIM Accelerate and the Productivity Partnership. “Architects are already onto it and the engineers are now increasingly coming to the party. We’ve had to educate them on the likes of IFC and the BIM Federated Model – we’ve called in at their offices and showed them what we want to achieve and how to achieve it. Once you have the process defined, agreed and templated, then each time you work with that consultant it’s seamless.”

Jonny adds that rather than having to explain the BIM acronym to clients, Context prefers the simple term ‘Virtual Building’: “It’s much easier for the public to understand when we say ‘we digitally construct your building’. Using BIM we’re able to provide clients with a virtual walk-through of their building in our VR-Lab. A well-constructed 3D model enables you to get client buy-in much earlier in the process. Using these kinds of tools, we’re able to give clients the opportunity to interact with their virtual building on their smartphone, as they would a computer game.

“In addition to the immediate efficiency and quality benefits, all this plays a significant role in improving customer retention and generating repeat business.”  

More information

If you are thinking about creating a BIM Handbook to help improve the efficiencies of your business, we recommend the following resources:

BIM Information Modelling is an Australian website with several resources including Collaboration documents and BIM Standards/Guideline documents.

BIM in NZ: Here you can download a range of documents including the BIM in New Zealand Handbook and a range of Best Practice documents.

  About Context Architects

Context Architects is a multi-disciplinary practice operating nationally from Auckland and Christchurch. Their award-winning team includes architects, urban designers, master planners, residential and commercial specialists, heritage and sustainability experts who all work together to create great buildings.

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[oguntewomen]

#ImpactWomen events to look out for!

by Emma Becirovic - Ogunte contributor

One of the best ways to grow as a social entrepreneur is by attending an event where you will nurture your connections, increase your professional visibility, and learn from others through panels and debates. The right platform can contribute to your organisation’s learning culture both by bringing up-to-date knowledge, (or diverging opinions!) into your social enterprise and sending knowledge back out into your area of impact. Your confidence and credentials will also be reinforced by appearing at innovative events where you can share your valuable perspectives and experiences. Why not step onto the scene at some of the following events? Most are returning every year. Log them in your calendar to attend future editions!

If you’re interested in nurturing ecosystems, and educating and empowering others

-   Broadening Horizons: Social Enterprise Mark CIC conference

When: 5th-6th June 2017

Where: the University of Winchester, UK

Themes: “Broadening horizons for social enterprise and pushing the boundaries of the traditional social enterprise market”. The event will challenge participants to think about the wider world, Brexit and the market opportunities. For Social Enterprise Mark Holders on the 1st day and other social enterprises on the second day.

- OuiShare - Cities of the World Unite!

When: 5th-7th July 2017

Where: Paris, France

Themes: Cities and citizens are at the heart of the next great transformation.

Join 1,500 visionaries, entrepreneurs and movement builders to explore how digital technologies and a more collaborative culture can address the great challenges of our time and build systemic change.

- Social Enterprise World Forum

When: 27th-29th September 2017

Where: Christchurch, New Zealand

Theme: “Ka koroki te manu – Creating our tomorrow”, is an invitation to create a global legacy of positive change and to take an active role in shaping the world’s future. Key streams: Social enterprise in recovery and regeneration; Global citizenship and international development. Nb: Bursaries available.

- Unleashed, powered by the Centre for Social Enterprise Development

When: November 2017, date TBC

Where: Ottowa, Canada

Themes: “Money, markets, people, and ideas”. A radical conference bringing together ‘thinkers, disrupters, and doers’ for one day to share their insights and experiences in the social enterprise field.

- Women in Enterprise Conference (WEC)

When: 24th-25th November 2017

Where: Kano, Nigeria

Themes: Discussing and cross-pollinating ideas on entrepreneurship. Run specifically with women in mind and designed to inform and inspire other women who already are or want to run their own enterprises.

- Fourteenth International Conference on Environmental, Cultural, Economic & Social Sustainability

When: January 2018, date TBC

Where: Cairns, Australia

Themes: Special focus is “forging solidarity: collective sustainability solutions in a fragmenting world”. This research network attempts to locate what is being experienced in the context of longer, broader and deeper views of the four fundamentals (environment, culture, economy, society) of sustainability.

- Empower- Reach Out to Asia’s Annual Youth Conference on Personal Leadership, Service Learning and Global Citizenship

When: Early March 2018

Where: Qatar

Themes: sustainable tourism; previous themes include youth development for

peaceful societies and sports as youth empowerment. Intends to inspire, inform and mobilize young delegates and to enable young people to take leadership roles in addressing local and international developmental issues

If you’re interested in environmental sustainability

- SEED West Africa Symposium 2017

When: 20th July 2017

Where: Accra, Ghana

Themes: “Reinvent? Replicate! - Replicating Eco-Inclusive Enterprise Solutions for Green Economy and Sustainable Development in West Africa”. Bringing together over 100 enterprises, financial institutions, policy makers, business development service providers and civil society representatives this event aims to generate approaches to and explorations of the business models which will contribute to an inclusive green economy and sustainable development in West Africa.

-  International Conference on Sustainable Development - run by European Centre of Sustainable Development

When: 6th-7th September 2017

Where: Rome, Italy

Themes: “Creating a unified foundation for the Sustainable Development: research, practice and education". Inspired by the critical challenge of human, environmental, and economic sustainability concerning the present and future generations in a global-scale context

If you want to influence and work with policy makers

-   Social Enterprise Policy and Practice

When: 7th September 2017

Where: Glasgow, Scotland

Summary: Bringing together 220+ social enterprise leaders, practitioners, supporters, policy makers and funders to gain insight, this annual event will let you share experiences and best practice, and network.

If you want to talk about money and markets

- Summit ’17- Social Enterprise Alliance

When: 18th-20th September 2017

Where: California, USA

-  Annual Aspen Network of Development Entrepreneurs

When: 25th-27th September 2017

Where: Virginia, USA

- Social Capital Markets “SoCap” When: 10th-13th October 2017

Where: San Fransisco, California

Theme: Socap convenes thousands of impact investors, world-class entrepreneurs, and innovative cross-sector practitioners dedicated to increasing the flow of capital toward social good.

- Social Venture Network- 30th anniversary conference and celebration

When: 7th-9th December 2017

Where: San Francisco, USA

- Social Exchange Marketplace

When: March, 2018, date TBC

Where: Edinburgh, Scotland

What do you think of these events? What appeals to you, and what is lacking? We’d love to gain an insight from you, as women in social business, about what you want to find in an event, either as a visitor, co-sponsor or panel participant.

Take our survey here to leave your comments!

#social enterprise #bcorp #women changemakers #events

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New Zealand's first fully driverless vehicle service aimed at air passengers

hongkongperfectescort.com Air travellers in New Zealand's second city of Christchurch could be the first passengers in the country's first driverless vehicle service. The government announced Tuesday that the first New Zealand trials of a fully autonomous vehicle would begin at Christchurch airport early next year. The trials would largely be conducted at Christchurch Airport, starting on private roads with no public present, with the long-term aim of moving to public roads once the safety case had been made and all regulatory approvals were in place, said airport officials. The trial was being carried out with HMI Technologies, which had bought a French Navya 15-person shuttle that had no steering wheel and was electric powered. The airport was considering future plans to link key areas around the airport campus, general manager corporate affairs Michael Singleton said in a statement. "We hope to eventually see autonomous vehicles operating in and around the airport. Before that could happen, we want to understand the infrastructure and operating requirements for these vehicles, to understand the human-technology interface and to build the safety case for autonomous vehicles on our campus," said Singleton. University of Canterbury researchers, who would design and undertake the trials, said the trials were aimed at demystifying the technology for the public. "These days, driverless shuttles are common at many international airports to move people between terminals, and people don't seem to mind, since the shuttles are on closed tracks," Professor Rob Lindeman said in a statement. "How well will people accept them when they are on more open roads, such as moving people from the terminal to a satellite parking structure, or moving them from the terminal to the CBD (central business district)?" Lindeman asked. "By including the public at each step of the roll-out this trial has the potential to raise the level of acceptance and success of this and similar projects in New Zealand, and gives deep insights beyond our borders to others looking to introduce autonomous electric vehicles." Transport Minister Simon Bridges said the trials would provide invaluable information about the vehicle and its potential for use in different New Zealand environments. "Autonomous vehicles are an important part of the future of transport and offer potential safety, efficiency and environmental benefits. It's exciting to see a New Zealand-initiated trial where the skills and knowledge about managing and deploying the technology will transfer to New Zealanders," Bridges said in a statement. The government's New Zealand Transport Agency and the Ministry of Transport would also be working on the project. Tags: Hong Kong Escort, Escort Hong Kong, Escort HK, HK Escorts, Hong Kong Escorts, HK Massage, Massage HK, Hong Kong Massage, Massage Hong Kong, Hong Kong Adult Services, Adult Services Hong Kong, Hong Kong Escort Agencies, Hong Kong Independent Escort, Erotic Massage Hong Kong, Escort Sevices in Hong Kong, Body Massage, Hotel Massage, Best Escorts in Hong Kong, Platinum Models, Escort Guide, Escort Suggestion, Hong Kong Erotic Massage, Full Services Hong Kong, Hong Kong Full Services Agency, Best Hong Kong Escort, Body to Body Massage Hong Kong, Hong Kong Perfect Escert, Escort Girls Hong Kong, Hong Kong Escort Girls, Double Delight Hong Kong, Escorts Hong Kong, HK Massage, Escorts Hong Kong, Massage HK, Hong Kong Massage, Massage Hong Kong, Hong Kong Adult Services, Adult Services Hong Kong, Hong Kong Escort Agencies, Hong Kong Independent Escort, Erotic Massage Hong Kong, Escort Sevices in Hong Kong, Body Massage, Hotel Massage, Best Escorts in Hong Kong, Platinum Models, Escort Guide, Escort Suggestion, Hong Kong Erotic Massage, Full Services Hong Kong, Hong Kong Full Services Agency, Best Hong Kong Escort, Body to Body Massage Hong Kong, Hong Kong Perfect Escert, Escort Girls Hong Kong, Hong Kong Escort Girls, Double Delight Hong Kong, SEO, SEO, web design, 網頁設計, SEO, SEO, SEO, SEO, Whatsapp Marketing, TVC, Wechat Marketing,Wechat Promotion, web design, 網頁設計, whatsapp marketing, wechat marketing, seo, e marketing, 網頁設計提供seo, e marketing, web design by zoapcon.