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https://w.atwiki.jp/meet-artproject/pages/24.html
Meet! 2014 Made out of thin air The recipe of becoming / the reception of becoming See almost a nothing unfounded, untenable up in the air / don t hold back, the Emergence / envision it, grasp it. Maybe it is a process, beginning in a next-to-nothingness or ending there | delicate | fragile | invisible | light | or diff erent; soft-footed, unfolding a strong impact... Meet! 2014 makes room for the art, which draws its force from beyond the big, obvious, spectacular and piercing – out of the small, the plain, the elusive. Quiet in its form or in the subject matter itself – we are looking for art works, which do not present themselves to the consuming spectator too readily but expect a deep, close gaze. In short This art wants to be discovered. Works from any art genre are permitted. Date Meet! 2014 takes place from April 6th to Mai 4th in the urban gallery KUBUS, Hanover, Germany. General requirements please transfer a processing fee in the amount of 5 € to Meet! 2014; Sparkasse Hannover; IBAN DE55 2505 0180 1911 5463 92, BIC SPKHDE2HXXX personal data and all relevant contact data (address, E-Mail, phone numbers) vita or info about artistic development a piece of art work or a series three pictures (max.) of the art works in digital form or on one DVD. Submissions via E-Mail pdf, jpg, tiff or giff or text fi les are possible– the size of the fi le will be less then 5 MB, for data transfer (for example www.wetransfer.com) less then 1 GB. A statement (one page max.) for performances documentation and description of the project, info about the length of the time interval. For performances which have been presented before, we accept a report (one page max.) we will choose only one piece or series per artist (space is limited) We will not accept incomplete applications. However, we will be happy to answer any questions, do not hesitate to contact us meet.artproject@googlemail.com Postal applications are also possible (Please note that it is unfortunately not possible to return unrequested submissions of originals) Address konnektor – Forum für Künste Stichwort Meet! 2014 Kötnerholzweg 11 D-30451 Hannover Germany We will return the application, if desired, only in case an addressed and suffi ciently stamped envelope is attached to the application. Closing date for the application will be January 14th 2014 February 15th. 2014. (extended until 15.02.2014) By submitting an application, artists automatically give their consent to the terms and conditions of the organiser. Terms and conditions of the organizer the works selected have to be accessible to the organizer at least two weeks before and one week after the exhibition. No expenses of the artists are refundable. The exhibiting artists are solely responsible for the delivery and collection of their own works (no refunds either). The works are ensured during the time of the exhibition (but not during the construction- and the deconstruction-phase). They may be send to us by post or delivery. The artists accepted will be notifi ed about further details concerning the exhibition and the dates for delivery and collection of the pieces. Meet!2014Aplicationform.pdf Meet!2014Aplicationform-jan.pdf Copyright (c) Meet! 2014 All Right Reserved
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付随的細部 / アクセソワール Paul Landois, Encyclopédie, I, 1751, 69b. ACCESSOIRES, s. m. pl. en Peinture, sont des choses qu on fait entrer dans la composition d un tableau, comme vases, armures, animaux, qui sans y être absolument nécessaires, servent beaucoup à l embellir, lorsque le Peintre sait les y placer sans choquer les convenances. (R) 絵画における付随的細部とはタブローの構成〔構図〕に加えられる事物のうちで、例えばそれは瓶、甲冑、動物のように、必ずしもそこに欠くべからざるものではないが、画家が適合を乱すことなくそれら配置する術を心得ているならば、構成をより美しくするために大きく益するものである。 Diderot Diderot, Entretiens sur le fils naturel, OE, 153. Jusqu à présent, dans la comédie, le caractère a été l objet principal, et la condition n a été que l accessoire; il faut que la condition devienne aujourd hui l objet principal, et que le caractère ne soit que l accessoire. 従来、喜劇においては性格が主要な対象であって、境遇〔=身分・職業〕は付随的なものに過ぎなかった。今日においては、境遇が主要な対象となるべきであり、性格は付随的なものとなるべきである。 tr. de. Lessing, Entretiens sur le fils naturel, OE, 153. Bisher ist in der Komödie der Charakter das Hauptwerk gewesen; und der Stand war nur etwas Zufälliges nun aber muß der Stand das Hauptwerk, und der Charakter das Zufällige werden. Diderot, Salon de 1763, Chardin. (Salons I, 219.) Il y a au Salon plusieurs petits tableaux de Chardin; ils représentent presque tous des fruits avec les accessoires d un repas. C est la nature même. Les objets sont hors de la toile et d une vérité à tromper les yeux. 「食事における付随的〔=装飾的〕なもの」 Diderot, Salon de 1765, Feu Carle Vanloo. [DPV, XIV, 29.] Il me semble que le temple n étant pas ici un pur accessoire, une simple décoration de fond, il fallait le montrer davantage et n en pas faire une fabrique pauvre et mesquine. このような画題においてici、神殿とは純然たる付随的細部ではないし、ただ単に後景の舞台装置〔=装飾décoration〕に留まるものではないのだから、思うに、神殿をもっと目立つようにしなければならなかった、つまり、これを貧相で卑小な建物fabriqueにしつらえるべきではなかったのだ。 Diderot, Essai sur la peinture, Expression, [OE, 709.] [DPV, XIV, 394.] tr. cité par 佐々木健一「幸福としての共生」『思想』1989, Vol. 776, p. 26. 佐々木健一『18世紀美学史の研究』, 1999, p. 164. / p. 233. 一二の事例を挙げて、画家たちをその付随的細部の微妙な選択において導いた密かな、そして細い糸を解きほぐしてご覧に入れよう。殆ど全ての廃墟の画家は、その人気のない建物、倒れた宮殿、町、オベリスクその他の建造物の周囲に、吹きすさぶ烈風、背に小さな荷物を背負い、通って行く旅人、ぼろにくるんだ子供の重さに背を曲げて通って行く女、馬に乗り、マントに鼻を突っ込んで、言葉を交わしては通って行く男たちを描くであろう。これらの付随的細部は何から示唆を受けたものであろうか。観念の類似性である。一切のものが過ぎてゆく、ひともひとの住居も。 Diderot, Essai sur la peinture, Composition. [DPV, XIV, 386.] 佐々木健一 訳『絵画について』p. 82. Qu elle [composition] soit simple et claire. Par conséquent aucune figure oisive, aucun accessoire superflu. Que le sujet en soit un. このような作品=構成は単純かつ明晰なものでなければならない。従って、無為の人物像はあってはならないし、余分な付随的細部もあってはならない。 Diderot, Essai sur la peinture, OE, 708. L expression se fortifie merveilleusement par ces accessoires légers, qui facilitent encore l harmonie. Si vous me peignez une chaumière, et que vous placiez un arbre à l entrée, je veux que cet arbre soit vieux, rompu, gercé, caduc ; qu il y ait une conformité d accidents, de malheurs et de misère entre lui et l infortuné auquel il prête son ombre les jours de fête. Diderot, Salon de 1767, Vernet, site 6e. [DPV, XVI, 224.] Ce n est point, vous disais-je, un port de mer qu il n en faut pour enrichir et animer sa scène. C est l intelligence et le goût; c est l art qui les a distribués pour l effet; mais l effet est produit, sans que l art s aperçoive. Il y a des incidents, mais pas plus que l espace et le moment de la composition n en exigent. 付随的なものincidentがたくさんあるが、構図=構成が要求しないような空間と瞬間はひとつもない。 Diderot, Salon de 1767, Bounieu. [DPV, XVI, 466.] J y vois d abord deux scènes liées. La première sur le devant, et ce sont les principaux personnages de la querelle. La première sur le devant, et ce sont les principaux personnages de la querelle. La seconde, entre celle-ci et la forêt, et ce sont les personnages accessoires, attirés du fond par la curiosité, et tenant à la première scène par cet intérêt subordonné. Ces deux scènes ne se nuisent point, et servent très naturellement, à la manière du Poussin, à donner à toute la composition une profondeur où par ce moyen l on distingue trois grands plans, celui des disputants rivaux et des juges; celui des curieux que la dispute appelle; et celui de la forêt et du paysage. Sur ces trois grands plans, des figures interposées, ont aussi leurs places, leurs plans particuliers nets et distincts, ce qui rend l ensemble clair et en écarte la confusion. Diderot, Salon de 1767, Bounieu. [DPV, XVI, 469.] Je ne proscris pas les groupes; il s en manque beaucoup. Il est difficile, pour ne pas dire impossible, de se passer de masses. Sans masses, point d effet. Mais les groupes qui multiplient communément les actions particulières doivent aussi communément distraire de la scène principale. Avec un peu d imagination et de fécondité, il s en présente de si heureux qu on ne saurait y renoncer. Qu arrive-t-il alors? C est qu une idée accessoire donne la loi à l ensemble au lieu de la recevoir. Idée accessoire Diderot, Essai sur la peinture, Expression, [OE, 710.] [DPV, XIV,xxx] tr. jp. 佐々木健一 訳, 『絵画論』, 岩波文庫, p. 80. Si j avais eu à former la place de Louis XV où elle est, je me serais bien gardé d abattre la forêt. J aurais voulu qu on en vît la profondeur obscure entre les colonnes d un grand péristyle. Nos architectes sont sans génie; ils ne savent ce que c est que les idées accessoires, qui se réveillent par le local et les objets circonvoisins c est comme nos poètes de théâtre, qui n ont jamais su tirer aucun parti du lieu de la scène. もしも私が、今ある場所にルイ15世広場を造る任にあったとすれば、森を伐ることだけはしなかっただろう。大きな廻廊の列柱越しに森の暗い深みが見えるようにするためだ。わが国の建築家たちには才能〔佐々木訳「霊感的才能」〕がない。彼等は、地域や周囲のものによって喚起される付随的観念とは何かということを知らないのである。このことは、劇作家に、舞台の場所を活用する心得が全く欠けているというのと同様である。〔tr. Y.〕 *******************
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telnetでブラウズ(HTTP) このページでは、インターネットでホームページなどをブラウジングするときに利用するHTTPプロトコルについて説明しています。 概要 HTTPプロトコルとは、Hypertext Transfer Protocolの略で、インターネットでホームページなどをブラウジングするときに利用しているプロトコルです。 HTTPプロトコルは、TCP/IP上のプロトコルで、通常80番ポートを使ってアクセスします。 詳細な定義は、以下のRFCで定義されています。 RFC-1945 HTTP/1.0 RFC-2068 HTTP/1.1 基本的に、メッセージを要求(リクエスト)し、その応答結果(レスポンス)を表示するだけです。 HTTPのアクセスログ ApacheなどのWebサーバのログを見ると、リクエストとレスポンスが、以下の形式で出力されます。 アクセスログの書式 アクセス元 - - [アクセス時間] メソッド名 URL名 プロトコルバージョン レスポンスコード 例: 10.0.1.20 - - [01/Jul/1999 23 22 46 +0900] GET /usr/joe/index.html HTTP/1.0 200 2060 メソッドの種類には、GETやPOSTなどがあります。 GETメソッドは、HTMLデータや画像データなどを取得する場合に使用します。 GETメソッドで要求すると、ヘッダ情報とHTMLデータが返却されます。 GETメソッドでCGIを呼び出すこともできます。 パラメータを渡す場合は、URLの後に ?name1=データ1 name2=データ2 という形式で指定します。 HEADメソッドは、ファイルサイズや更新日時を調べる場合に利用します。 HEADメソッドを利用すると、ヘッダ情報だけが返却されます。 POSTメソッドは、CGIなどにデータを渡す場合に使用します。 パラメータなどのデータは、環境変数などによって、CGIに渡ります。 以下に、HTTPのバージョンとメソッドの種類を示します。 メソッドの種類 HTTP/1.0 GET, HEAD, PUT, POST, DELETE, LINK, UNLINK HTTP/1.1 OPTIONS, TRACE, PATCH 以下に、レスポンスコードの一覧を示します。 100番台は通信エラー、200番台は正常終了、300番台はリダイレクト、400番台はクライアントエラー、500番台はサーバエラーを表しています。 リダイレクトとは、クライアントの指定したURLに移動した場合などに返却されます。 レスポンスコード コード 内容 コード 内容 100 Continue 101 Switching Protocols 200 OK 201 Created 202 Accepted 203 Non-Authoritative Information 204 No Content 205 Reset Content 206 Partial Content 300 Multiple Choices 301 Moved Permanently 302 Moved Temporarily 303 See Other 304 Not Modified 305 Use Proxy 400 Bad Request 401 Unauthorized 402 Payment Required 403 Forbidden 404 Not Found 405 Method Not Allowed 406 Not Acceptable 407 Proxy Authentication Required 408 Request Time-out 409 Conflict 410 Gone 411 Length Required 412 Precondition Failed 413 Request Entity Too Large 414 Request-URI Too Large 415 Unsupported Media Type 500 Internal Server Error 501 Not Implemented 502 Bad Gateway 503 Service Unavailable 504 Gateway Time-out 505 HTTP Version not supported レスポンスコードは、ログファイルなどに出力されますので、知っていると役に立つと思います。 telnetでブラウジング では、実際にtelnetでブラウジングしてみましょう。 telnetコマンドで、WWWサーバ名と、80番ポートを指定します。 Linux# telnet ash.jp 80 そこで、環境変数をすべて表示するCGI(env.cgi)を起動してみます。 まず、GETコマンドで、取得したいURLと、HTTPのバージョンを指定します。 GET /~joe/prog/cgi/env01.cgi HTTP/1.0 ここで、リターンのみを入力しても表示されますが、以下のオプションも入力してみます。 指定したオプションは、環境変数としてCGIに渡ります。 User-Agent Telnet [ja] (Linux) Host www.ash.jp リターンのみを入力すると、レスポンスと、HTMLが表示されます。 当然、HTMLのソースが表示されるだけですから、頭の中でHTMLを解析し画面イメージを想像する必要があります。 以下に実行結果を示します。 Linux# telnet ash.jp 80 Trying 210.154.87.18... Connected to ash.jp. Escape character is ^] . GET /~joe/prog/cgi/env01.cgi HTTP/1.0 User-Agent Telnet [ja] (Linux) Host ash.jp HTTP/1.1 200 OK DeleGate-Ver 5.8.8 (delay=7) Date Fri, 02 Jul 1999 09 56 24 GMT Server Apache/1.3.3 (Unix) Content-Type text/html Via 1.0 210.154.87.18 80 (DeleGate/5.8.8) Content-Length 954 html body h1 CGIでの環境変数一覧 /h1 hr h3 環境変数の表示 /h3 DOCUMENT_ROOT = /usr/local/share/apache/htm br GATEWAY_INTERFACE = CGI/1.1 br HTTP_FORWARDED = by http //210.154.87.18 80/ (DeleGate/5.8.8) for sv01.lo.ash.or .jp br HTTP_HOST = ash.jp br HTTP_USER_AGENT = Telnet [ja] (Linux) br HTTP_VIA = 1.0 210.154.87.18 80 (DeleGate/5.8.8) br PATH = /usr/local/sbin /usr/local/bin /sbin /usr/sbin /bin /usr/bin br QUERY_STRING = br REMOTE_ADDR = 10.0.1.254 br REMOTE_PORT = 12621 br REQUEST_METHOD = GET br REQUEST_URI = /~joe/prog/cgi/env01.cgi br SCRIPT_FILENAME = /home/joe/public_html/prog/cgi/env01.cgi br SCRIPT_NAME = /~joe/prog/cgi/env01.cgi br SERVER_ADMIN = info@ash.jp br SERVER_NAME = ash.jp br SERVER_PORT = 80 br SERVER_PROTOCOL = HTTP/1.0 br SERVER_SIGNATURE = ADDRESS Apache/1.3.3 Server at ash.jp Port 80 /ADDRESS br SERVER_SOFTWARE = Apache/1.3.3 (Unix) br hr br このCGIのソース: a href=env01.txt env01.cgi /a br /body /html Connection closed by foreign host. 最初の、HTTP/1.1 200 OKは、HTTPプロトコルで、正常に転送したことを表します。 その後にヘッダ情報が転送され、最後にHTMLのソースが転送されます。 環境変数として、以下の値が追加設定されているのが確認できます。 HTTP_HOST = ash.jp HTTP_USER_AGENT = Telnet [ja] (Linux) このように、HTTPプロトコルは、要求(リクエスト)に対して、応答(レスポンス)が返却されるだけのシンプルなプロトコルです。 余談ですが、HTTPプロトコルという呼び方は、Hyper Text Transfer Protocol プロトコルになって、プロトコルが2重になってしまい、おかしいです。 でも、この方がわかりやすいので、私はよく使います。
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ほのか代理砲台(CGI HTTPプロキシ)について 代理砲台は、CGI方式のプロキシをレンタル鯖などに設置してクリックするテクニック。 これにより、新しいIPの砲台を手に入れるのと同じ効果を得られる。 生IPがBANされてもクリックが可能。 また、「生IP+代理砲台」や、「生IP+代理砲台+代理砲台」というふうに使えば、最大窓数の2倍も3倍も多重できる。 代理砲台の効能 自分で使えるIPをふやせる。つまりほのか窓数をふやせる。以下説明。 1. 現在、イアン鯖に対しては1つのIPからクリックできる窓数は制限されている 2. 光だろうとADSLだろうと普通にネット接続してる家はIP一個しかもらえない 3. よってどんなにPCの性能があっても規制の窓数しか開けない 4. CGI桶のレンサバに砲台をおくことで、そこのIPを使えるようになる(ほのかの代理砲台機能) 砲台を置く鯖が他の人と被るとてんぽります。また、代理砲台を設置したりやめたりするときは 設置済み鯖投稿欄 に投稿してください。これから設置する人はここを見て鯖がかぶらないよう注意してください。 代理砲台の作り方 注意:perlやphp使える鯖でも下記の方法全てが一切通じない鯖も存在します。(完全無料のHPスペースなど)その場合は素直にあきらめましょう。 1. PHP が使えるレン鯖をゲトできたとき 共通: ほのか公式ページ の proxy.txt をダウソしておく。 a.そのままアップロードして使えるかどうか試してみる b.ダメならproxy.phpにリネームして試してみる c.これでもダメなら一行目の#!/usr/local/bin/phpを環境に合わせて書き換える d.3つともダメ、もしくはわからない人は下記の方法を試す 先頭の、 #!/usr/local/bin/php を削除する。 //-----------------------設定ここまで--------------- if(isset($u)){ //URL分解 $url = parse_url($u); の部分を、 //-----------------------設定ここまで--------------- if(isset($_GET[ u ])){ //URL分解 $url = parse_url($_GET[ u ]); に書き換えてから、proxy.php に名前を変えてサーバーにUPする。 2. perlなら使えるらしい鯖をゲトしたとき a.web_proxy.pl や cgiproxy.pl などはあるが代理砲台としてつかえるかわからん 3. もっと自由な鯖をゲトしたとき a.その時点でこれを読む必要があるヤシとは思えん b.squidは面倒だから、TinyHTTPProxy あたりが手軽。自分の動的IPにだけ開けとけるし。 代理砲台の使い方 1. proxy.txt を proxy.php などにリネームしてうpした場合 代理砲台を設置する a. Firefox で ほのか公式 にアクセス。FireVolcanoプロキシサーバーをインストール&Firefox再起動 b. ツール - アドオン - FireVolcanoProxy - 設定 c. 「第二次HTTPプロキシ」の「アクセス先にCGI HTTPプロキシを経由して接続」をチェック d. CGI HTTPプロキシのURL に設置したCGIへアクセスできるURLをコピペ e. 設定ページにいろいろ注意がきはあるので、それのとおりで基本的には桶 多重する場合 火連を一つ起動して窓数を2倍や3倍にしても有効にはなりません。 砲台ごとに別々のプロファイルでFirefoxを立ち上げ、しかる後にそれぞれの火連を起動させましょう。(生IPのFirefoxからはFVPをアンインストした方がいいかも) Firefoxのプロファイル別起動をするには 梓3号 が簡単です。 Macの場合のプロファイル別起動の方法は こちら もしくは、Firefox+Firefox互換ブラウザ(lolifox、flock)の同時起動でもOKです。 代理砲台を2台以上設置する場合 FireVolcanoプロキシサーバー用のポート番号が競合しないようにしてください。 FVPのオプションの「第一次HTTPプロキシ」の中の数字を、砲台ごとに変えればOK。 (生IP砲台+代理砲台の2台の場合はいじる必要はありません。あくまで代理砲台を2つ以上置いたときだけです) (ちなみにこれは内部ネットワークのポートなので、プラネットのようにルータのポート開放作業をする必要はありません) 2. それ以外の場合。 各自工夫するか、質問してくれれば答えられることは答える。 個人的にはswitchproxytool で切換えるのが楽だと思う({火|炉}狐) 設置済み鯖 投稿欄 s31.xrea.com s33.xrea.com (BAN) s41.xrea.com (BAN) s296.xrea.com s297.xrea.com s292.xrea.com (2007-07-26 01 04 30) x-beat dxbeat設置確認済 BAN? (2007-07-26 01 13 00) s75.xrea.com (2007-07-28 19 38 48) AZAReA動作確認済 (2007-07-31 03 31 22) AZAReA鯖重複にて店舗しだした模様 (2007-07-31 10 27 22) s11.coreserver.jp (2007-12-10 10 50 01) ↑のアドレスが理解できませんw ソケット通信可能な格安有料レン鯖が狙い目だと思います (2008-06-03 22 12 57) www8.inetd.co.jp (2008-06-19 07 42 13) 「if.land.to」借ります。 land.toはおkなようです。 (2008-08-04 22 36 32) me.land.toを借りました。 (2008-08-05 08 30 28) es.land.toも借りました。 (2008-08-05 22 13 13) s1.muryo-de.etowns.netを借りました。 (2008-08-09 17 31 36) www.orkut.com (2008-10-31 21 14 40) orkut.com (2009-01-07 04 34 02) Is there ? a href=" http //www.zoji.com/1231016 " littles links /a Perfect to j/o too. (2013-05-30 17 48 04) I quite like cooking a href=" http //www.dicomol.com " order prozac canada /a Estimated creatinine clearance (CrCl) (2013-06-01 05 15 38) Can you hear me OK? a href=" http //www.boards2go.com/boards/board.cgi?user=cytonaqa " japanese schoolgirl lolita pics /a nice, and my ass? (2013-06-02 04 12 14) I ve got a full-time job a href=" http //www.rocktropia.com/forum/blogs/u11384-custom960/ " fucked preteens /a this gurl is def a hot one. (2013-06-04 09 18 50) Awesome article post.Thanks Again. Much obliged. ageafedggefd (2014-05-01 01 27 55) BHnPF5 http //www.FyLitCl7Pf7kjQdDUOLQOuaxTXbj5iNG.com (2015-01-10 16 07 09) Best Site good looking a href=" http //inwa-nordicwalking.com/personal-statement-online-help/ " ethics and social responsibility research papers /a "The [stunt] coordinator and I were up on a scissor lift, we were a good 30 to 40 feet in the area already working when we turned around and looked," he said. "There was just a lot of commotion, people were screaming and pointing." (2015-01-18 05 55 43) On another call http //www.imagetext.co.nz/write-my-essay-fast/ essay writing free essays According to the San Antonio Express News, an average of 230 people have been injured on Texas rides from 2000 to 2008, including 120 who broke bones, 60 who had their teeth chipped or knocked out, and four people who suffered amputations. (2015-01-20 21 45 08) コメント
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