Agfa Launches :Afirma FlexCam.
Shown with :Afirma Process Control for CtP, the Universal Video Camera Provides Continuous Hands Free Assurance of Plate Quality.
":Arkitex was developed to provide a flexible workflow management solution that can adjust to the needs of any newspaper. It was designed to be evolutionary so that Agfa can take advantage of the latest advances in technology to continually add new capabilities and to respond newspapers' changing needs. This new release of :Arkitex is a reflection of these goals," said Andy Grant, worldwide business manager for Agfa's newspaper workflow solutions.
Camera phones to represent 90% of total Western European mobile phone shipments by 2009, says IDC.
According to a recent forecast published by IDC, camera phone shipments in Western Europe are set to reach 179 million units in 2009, to constitute just over 90% of total mobile phone shipments. IDC predicts a compound annual growth rate of 8%, slightly higher than the growth forecast for the total mobile phone market, with converged devices positioned as multimedia and imaging solutions expected to demonstrate the largest growth during the forecast period.
"The integrated digital camera has become the most visible illustration to date of the progress of convergence in the mobile market," said Andrew Brown, program manager of IDC's European Mobile Devices service. "2004 witnessed the proportion of handsets with integrated cameras grow to 70% of total Western European mobile phone shipments from just 15% in 2003, illustrating the growing importance of imaging from high-end smart phones down to basic midrange and increasingly low-end mobile phones."
The declining costs of components and manufacturing/production efficiencies will be a key driver of the integrated digital camera into low-end handsets market, according to IDC, while the advent of high-speed networks and technologies such as SIP (session initiation protocol) and IMS (IP multimedia subsystem) will maximize the role of the digital camera in high-end devices as a mechanism central to rich content sharing across fixed and mobile networks and between IP-enabled devices.
However, despite the positive outlook for the future of the integrated digital camera within the mobile phone, IDC advises vendors to exercise caution with regard to the notion of the mobile phone's long-term prospects as a converged alternative to a dedicated digital camera.
"Limitations on component quality caused by the requirement to limit BOM (build of material), costs, and total strain on the battery means the dedicated digital camera will always retain both a quality and cost advantage over the mobile phone," said Geoff Blaber, research analyst, European Mobile Devices. "While camera phones will cannibalize limited demand at the low end of the digital camera market, IDC believes that integrated cameras will largely assist digital camera market growth by alerting a broader demographic to the capability of digital photography."
IDC stresses that the requirement for spontaneous image capture, rich image/video messaging, and increasingly the need for two-way cameras to enable video calling will constitute the primary accelerator of camera phone market development between 2005 and 2009.
"As we are unveiling the units at Ifra, we have already taken orders for eight systems to be installed before the end of the year," said Emma Isichei, director of Agfa's newspaper business. "Our customers are telling us that there is a clear need for these more affordable computer-to-plate systems today. With more newspaper installations worldwide than any other vendor, we are now bringing the low cost of ownership and the print quality of violet imaging to printing sites with modest throughput requirements."
A propos du livre Brésil, l’héritage africain édité par le Musée Dapper, Paris.
La part africaine dans la culture brésilienne est un vaste sujet qui inspira et nourrit encore un nombre important d’études tant au Brésil que dans le monde entier. Cet ouvrage les rend accessibles à tous ceux qui s'intéressent à ce sujet passionnant qui permet une meilleure compréhension de l’art africain et brésilien.
Le livre montre la parenté des productions afro-brésiliennes et des arts de l’Afrique subsaharienne en privilégiant les regards croisés. Dans cette perspective, les auteurs, anthropologues, sociologue, ethno-musicologue et historienne d’art, chercheurs français et brésiliens, ont exploré les données matérielles et spirituelles à la lumière de cet héritage.
© Musée Dapper, Paris.
L’étude centrale d’Erwan Dianteill se concentre sur les principales religions afro-brésiliennes, candomblé, umbanda et macumba, avec leurs variantes régionales et leurs codes spécifiques, tandis qu’Ismael Pordeus analyse la séquence rituelle du culte de guérison olubajé du candomblé. La transmission des croyances et des mythes se fait notamment par l’intermédiaire des danses,des chants et des instruments de musique qui accompagnent les cérémonies. Xavier Vatin en souligne la dimension sacrée et les origines africaines.
Les moments de communion partagée avec les autres membres, lors des cérémonies ou à l’occasion des festivités, renforcent la cohésion des groupes de fidèles initiés au même culte. Ils transmettent non seulement des valeurs héritées de l’Afrique, mais aussi des codes marqués par le système esclavagiste qui, comme l’explique Roberto Motta, influent sur leur image et sur leur place dans une société encore inégalitaire.
Les systèmes cosmogoniques,les actes cérémoniels afro-brésiliens, trouvent leur justification dans des traditions anciennes. Sans oublier que les esclaves venaient de quelques autres pays d’Afrique, la contribution de Christiane Falgayrettes-Leveau remonte aux sources principales auxquelles se rattachent trois zones culturelles africaines : yoruba (Nigeria, Bénin), fon/ewe (Bénin, Togo) et bantu (République démocratique du Congo,Congo et Angola).
Au Brésil, la proximité et la complémentarité des croyances religieuses font se côtoyer des éléments de l’héritage africain et des figures de saintes et de saints noirs qui trouvent parfaitement leur place sur les autels, comme le montre Vagner Gonçalves da Silva.
Des artistes brésiliens, plasticiens et photographes dont les démarches originales sont évoquées par Joëlle Busca, puisent une part de leur inspiration dans les pratiques religieuses, à l’instar du Béninois Cyprien Tokoudagba pour le vodun.
Brésil, l’héritage africain est édité sous la direction de Christiane Falgayrettes-Leveau, directeur du musée Dapper, et avec la collaboration scientifique d’Erwan Dianteill, anthropologue,maître de conférences à l’EHESS, Ecole des hautes études en sciences sociales.
Brésil, l’héritage africain
Sous la direction de Christiane Falgayrettes-Leveau
256 pages - 24 x 32 cm
200 illustrations dont 180 en couleurs
Relié sous jaquette
Prix de vente public : 40 euros
ISBN : 2-915258-14-7
Version brochée, vente exclusive à la librairie du musée Dapper
Prix de vente public : 24 euros
ISBN : 2-915258-15-5
35, rue Paul Valéry
This Line to You
CGAC - Centro Galego de Arte Contemporanea
Santiago de Compostela, Spain
Coming of artistic age in the early 90s, American artist Jim Hodges eschewed the irony and cynicism that prevailed in much of the art of the 80s and helped usher in a new era in art making that embraced beauty, intimacy and sincerity. Humming with soul, his works are sourced in his own life even as they open onto the universality of human experience.
Organized by New York-based, independent curator, Susan Harris, Jim Hodges: this line to you brings together 22 definitive works in order to explore the diversity and interconnectedness of an oeuvre that resists categorization or signature style. The exhibition highlights Jim Hodges’ well-known napkin, web and flower pieces as well as forays into other media that correspond to a journey of cultivating a personal vision and a facility for expressing it in disparate material languages. His ongoing experimentation is represented at CGAC in drawing, painting, sculpture, video, mirror, glass, photography, gold leaf, light bulbs, scarves, words—media and materials that serve his uncompromising commitment to process.
The context for this line to you is Santiago de Compostela, a legendary pilgrimage destination since the 9th century discovery there of relics of the Apostle and martyr, St. James—a city whose light, shadows and mystical aura are in keeping with qualities in Hodges’ work. The light-filled museum and adjacent 13th century church are the specific settings for works that are revealed anew along with their maker in a complex rhythm of overlapping and intersecting paths. As contrasting yet complimentary settings for Hodges’ art, the contemporary art museum and the medieval church underscore and illuminate the dualities inherent in the contents of the exhibition itself—of light and dark, of private and public, of hidden and exposed, of natural and artificial, of ethereal and material, of visual and textual, of abstract and representational.
Drawing is at the heart of Hodges’ practice and the exhibition. Sourced in the core of his being, it is a fundamental activity that manifests itself in a multitude of forms. He shares with artist-poet Richard Tuttle a reliance on drawing as a habitual preoccupation involving vigilant observation and a belief in drawing as the realm in which ideas are born and grow. Tuttle’s liberation of drawing from timeworn concepts of line, surface, color and space helped pave the way for Hodges’ own investigations that start with drawing and include painting, sculpture, collage, photography, poetry, sound, installation and video. Their mutual, expansive conception of drawing is reliant upon an active partnership with the materials of their art that, in turn, optimizes the power and breadth of expression in the work. Sustaining poetic insights, an openness to materials, and an active engagement with viewers,
Jim Hodges’ art is accessible to a wide public even as it springs from a personal quest for greater understanding of the natural world, the culture, humanity and his self. Jim Hodges: this line to you is occurring at an ideal moment in Hodges’ career as the work continues to evolve in eloquent forms and directions, and is recognized by a growing international audience as an intricate, elusive and potent expression that speaks of personal and universal truths.
The show will be accompanied by a fully illustrated publication designed in collaboration with the artist. It will include a text by the curator that will examine Hodges’ art and art-making practices in light of the personal and external forces with which his output is inextricably bound. It will also feature a fiction and essay by the renowned American novelist and essayist, Lynne Tillman.
Susan Harris, who curated this exhibition, is a curator and writer of contemporary art. She has a Master’s Degree in Art History from the Institute of Fine Arts at New York University. Her recent curatorial projects include a Nancy Spero exhibition at the Centro Galego de Arte Contemporanea as well as two Richard Tuttle exhibitions at the MuseuSerralves in Porto, Portugal and at Centro Galego de Arte Contemporanea, respectively. She authored the publications that accompanied these exhibitions-- Nancy Spero: Weighing the Heart Against a Feather of Truth and Richard Tuttle: Memento/cENTER. Prior to this she was a curator of The American Century: 1950-2000 at the Whitney Museum of American Art. She is a contributing writer for Art in America.
Susan Harris, NYC, June 2005
Jim Hodges: this line to you
CGAC - Centro Galego de Arte Contemporanea
Santiago de Compostela, Spain
October 18, 2005 - January 8, 2006