Moshav Villages of Israel | Via

Moshav is a type of agricultural community in Israeli consisting of a group of individual farms. The moshav is generally based on the principle of private ownership of land, emphasis on community labor and communal marketing. Workers produce crops and goods on their properties through individual or pooled labour and resources, and use profit and foodstuffs to provide for themselves. The farmers pay an amount of tax and this money is used to provide agricultural services to the community, like buying supplies and marketing the farm produce.

The first moshav was established in the Jezreel Valley in 1921. During the period of large-scale immigration after the creation of Israel  in 1948, the moshav was found to be an ideal settlement form for the new immigrants, almost none of whom were accustomed to communal living. By 1986 about 156,700 Israelis lived and worked on 448 moshavim.


The Invisible Presence

The works of Canadian artists Janet Cardiff and George Bures Miller often create a potent atmosphere through the abundant use of antiquated objects and nostalgic memorabilia. Kitty Scott of the AGO astutely thought to link the words memory palace to their works, which have been collected in a retrospective show held at the AGO and the Vancouver Art Gallery, where I was lucky enough to experience it. This description is most accurate because each piece is a complex network of memories that are at once accessible and completely foreign to the viewer. Works such as Dark Pool, 1995, Opera for a Small Room, 2005, and The Killing Machine, 2007, are composed of dense collections of used objects that have a strongly uncanny presence. The objects are often well worn and bear the musk of a former possessor. They are commonplace objects: vinyl records, tea cups, personal diaries and journals, all domestic items that most visitors have been intimately familiar with at one point in their life. And yet now the objects are being used and displayed so strangely in dark, heavy installations that any personal memories evoked in the viewer are undeniably contaminated by a foreign presence.

In Opera for a Small Room Cardiff & Miller use programmed lighting and robots to create the visual and aural traces of an unseeable person performing for the audience. The sound system plays a recording of the invisible man scuffling through the room, sorting through the stacks of records and speaking to the audience. His presence is further supported by lighting that creates his shadow flickering around the room and robotics that pull out his chair and turn on the record players. The invisible presence of modern technology is disguised as the invisible presence of the ghost who inhabits the installation.

The Killing Machine has a menacing presence when visitors are first confronted with it. Two gangly and yet sinister robotic arms, as well as a variety of old television sets emitting buzzing static images surround an electronic dentist’s chair. The experience of the installation however only truly begins when the viewer inevitable pushes the large button that entices visitors to PRESS it. The Killing Machine is then brought to life and the viewer can only watch in horror as an invisible victim is tortured to death by the robotic arms equipped with firing pneumatic pistons that whirl in a dance of death around the chair. Click here to watch The Killing Machine in action.

Underlying the dated and decrepit objects of the Cardiff & Miller installations is a force used to create the eerie presence of their pieces. These artists ironically rely on the latest technology to bring new life and a new presence to their installations. Robotics and precise programming are essential to the execution of these pieces. Interestingly, in an interview with Canadian Art Cardiff explained that “Technology is not the subject matter for us,” and Miller was quick to follow, stating, “The concern is only in what it can do for us.”  Despite this aloof attitude towards technology, the duo is dependent upon the latest innovations to bring their ideas to fruition. Art and technology are inseparable from each other in the work of these two artists.

The Vancouver Art Gallery is set to host Lost in the Memory Palace from June 21st to September 21st, 2014.

- Emily Cluett


More amazing drawings from the Bartlett Architecture School show, this time from MArch student Louis Sullivan. He proposes a ‘Living Dam’ which would provide homes for 10,000 inhabitants and: “Together with the integration of ecology, society and infrastructure…is a physical model of a modern ‘hydraulic civilisation’; a community and society sustained and dependant on its control, management and utilisation of water.”

"Whilst providing a store for the national asset of water, the project simultaneously provides a series of tiers, terraces, weirs and platypuses which house a series of beneficial ecologies such as reedbed systems, watercress fields, ponds, lakes and elevated fruit gardens for the water to flurry and flow through, building upon the technology of the Living Machine which segregates wetland ecologies into useful components for accelerated water filtration. The ecologies maintained within the dam go beyond the bucolic, and provide purification and filtration of the water beyond EU drinking water directive 98/83/EC as well as nourishing foods for the occupants to maintain and harvest."

“‘The Living Dam’ is towards a new typology of dam - away from the image of solitary hydrological infrastructures, and towards a model which is not only integral but also integrated with society, which may help alter the public perception of the essential infrastructures and reduce many of the negative consequences associated with dam management. 
A ‘useful pyramid’ for the 21st century.”


(via archisketchbook)


Farming Cuba — A new model for cities and countries facing threats to food security brought on by the end of cheap oil

Following the collapse of the Soviet Union in the early 1990s, Cuba found itself solely responsible for feeding a nation that had grown dependent on imports and trade subsidies. Citizens began growing their own organic produce anywhere they could find space, on rooftops, balconies, vacant lots, and even school playgrounds. By 1998 there were more than 8,000 urban farms in Havana producing nearly half of the country’s vegetables. What began as a grassroots initiative had, in less than a decade, grown into the largest sustainable agriculture initiative ever undertaken, making Cuba the world leader in urban farming. Learn more in Farming Cuba: Urban Agriculture from the Ground Up, by Carey Clouse, available now from PAPress.

(via thisbigcity)


A Ghibli movie raided the train.

(via urbangreens)


Almost Architecture #18 | Alva Sondakh


WAÏF: Postcards from Luna Park


(via ryanpanos)