December 5, 2002

Transcend CompactFlash Memory Card 1GB

Version en français à venir
DEC 05, 2002 - Transcend CompactFlash Memory Card Capacity Reaches 1GB
Now businessmen can carry a library of information in their pocket and professional digital photographers can get an entire photo shoot on a single memory card. Transcend Information Inc., the professional memory module and flash card manufacturer, has doubled the available capacity on a single Transcend Type I CompactFlash Memory Card to 1GB.
CompactFlash is the world's most popular removable mass storage device. CompactFlash was designed based on the popular PC Card (PCMCIA) standard, and the technology has resulted in the introduction of a new class of advanced, small, lightweight, low-power, mobile products that has significantly increased productivity and enhanced the lifestyle of millions of people. These mobile products include: digital cameras, digital MP3 players, handheld PCs, personal communicators, automobile PCs with GPS, digital voice recorders, digital photo printers, medical monitoring equipment, and many other devices.
With the rapid increase in the number of devices using CompactFlash memory cards, and people's enhanced reliance on them, capacity, stability, and reliability are the major factors users consider when selecting flash memory. Roy Wong, product manager for Transcend stated:
"Transcend's 1GB CompactFlash Memory Card uses four 2Gbit NAND Type flash memory chips with a high performance controller. The read speed is up to 5.2MB/sec and the write speed is up to 3.2MB/sec. The 1GB CompactFlash Memory Card has also passed compatibility testing to ensure users a hassle-free, worry-free digital life experience."
  • Fully compatible with CompactFlash Association and PCMCIA card standard
  • True Plug and Play
  • Low power consumption
  • Storage capacity up to 1GB
  • Single Power Supply: 5V ± 10% or 3.3V ± 10%
  • Recommended operating temperature: 0ºC (32°F) to 70ºC (158°F)
  • 5-year warranty
  • Capacity: 16MB, 32MB, 64MB, 128MB, 256MB, 512MB, and 1GB
Source : Transcend - Press Release - 05.12.2002

Albrecht Dürer at The British Museum, London

Albrecht Dürer and his legacy: The graphic work of a Renaissance artist 
The British Museum, London
5 December 2002 - 23 March 2003

Albrecht Dürer (1471–1528) was in a sense the first truly international artist. He was certainly the first who saw how to exploit the new technologies of printing to ensure that his works were known and sought after not just in his own country but across the whole of Europe, making him the great master of the multiple image and an international celebrity. The  AD monogram became a trademark recognised and respected world-wide. His drawings and his prints, on which his reputation was built, are at the heart of this exhibition, the first to be devoted to him in Britain for more than 30 years.

As a prelude to the Museum’s 250th anniversary year in 2003, the exhibition will celebrate the superlative collection of Albrecht Dürer prints, drawings and watercolours in The British Museum, many of which were Sir Hans Sloane’s original bequest to the Museum in 1753. In addition, there will be a number of outstanding loans, including the National Gallery’s Saint Jerome, and drawings of prime importance from the Ashmolean Museum, the Royal Collection, the Kupferstichkabinett in Berlin and the Albertina in Vienna. Two superb drawings, the Albertina’s Self-portrait as a thirteen-year old and the world famous Praying Hands, have never before been displayed in this country. The aim of the exhibition is to examine Albrecht Dürer’s extraordinary achievements as a draughtsman and printmaker during his own lifetime and to look at how the artist’s widely-disseminated and innovative imagery influenced artists and craftsmen for centuries to come.

The exhibition begins with an examination of the artist’s revolutionary approaches to self-portraiture and looks at the differing ways that other artists have represented and constructed his image over the centuries. The next sections follow the chronology of Albrecht Dürer’s life, with an emphasis on a particular period or project in each. 

They include his early years in Nuremberg; his first visit to Italy which stimulated him to produce the earliest-known group of watercolour landscapes drawn from nature to have survived in the history of western art; the production of his virtuoso engraving Adam and Eve in 1504 with its numerous related studies; his work for the Emperor Maximilian including the massive Triumphal Arch – one of the largest prints ever produced - and his three enigmatic master prints of 1513-1514, Knight, Death and the Devil, Melancholia and St Jerome in his Study. The following sections show the impact of Albrecht Dürer’s work on other artists, including Germany, Holland and Italy (Rembrandt among them), and his long-standing influence on ceramic designs from 16th century maiolica to 18th century Meissen.  A focus on the late 16th and early 17th century phenomenon known as the ‘Dürer Renaissance’, largely created by the scarcity of the master’s work, shows how glossy pastiches and elegant copies of his work became so highly sought after that artists such as Hans Hoffmann became well-known primarily for their skill at producing them. 

The exhibition concludes with Albrecht Dürer’s legacy in the 19th century, particularly the way in which his work was interpreted by Romantic artists such as Caspar David Friedrich. Amid the rise of German nationalism, Dürer’s name and art began to achieve a virtually iconic status and a final section looks at how the artist became an object of almost religious veneration in the elaborate festivals celebrating the anniversaries of his birth and death dates of 1828 and 1871.

The exhibition is accompanied by the fully-illustrated catalogue Albrecht Dürer and his Legacy (£35.00, British Museum Press, December 2002) by Giulia Bartrum, Joseph Leo Koerner and Ute Kuhlemann, with a text by Nobel Prize winning novelist Günter Grass written in 1971 in commemoration of the 500th anniversary of Dürer’s birth. 


December 1, 2002

Didier Gauducheau Impressions 2000-2001 Exposition Photo

Le photographe Didier Gauducheau a réalisé en 2000-2001 une série de portraits de réfugiés Roms du camps de Plemetina, au Kosovo. Ces photographies en noir et blanc, pleines d'émotions, sont exposées à Confluences. Impressions 2000-2001 Exposition du 3 décembre 2002 au 5 janvier 2003 Confluences Maison des Arts Urbains 190, boulevard de Charonne 75020 Paris Accès : Métro Ligne 2, Station Philippe Auguste ou Alexandre Dumas