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23200 = = = Influence on comics = = = |
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23201 Andreas C. Knigge described Busch as the " first virtuoso " of illustrated stories . From the second half of the 20th century he was considered the " Forefather of Comics " . His early illustrations differ from those of the colleagues of Kaspar Braun . They show an increasing focus on protagonists , are less det... |
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23202 One of Busch 's notable stories is Der Virtuos ( 1865 ) , which describes the life of a pianist who plays privately for an excited listener . Satirizing the self @-@ publicizing artist 's attitude and his overblown adoration , it varies from Busch 's other stories as each scene does not contain prose , but is de... |
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23203 = = = " Moritzian " influence = = = |
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23204 Busch 's greatest success , both within Germany and internationally , was with Max and Moritz : Up to the time of his death it was translated into English , Danish , Hebrew , Japanese , Latin , Polish , Portuguese , Russian , Hungarian , Swedish and Walloonian . Several countries banned the story – about 1929 th... |
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23205 Some early " Moritzian " comic strips were heavily influenced by Busch in plot and narrative style . Tootle and Bootle ( 1896 ) , borrowed so much content from Max and Moritz that it was described as a pirate edition . The true " Moritzian " recreation is The Katzenjammer Kids by German artist Rudolph Dirks , pu... |
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23206 German " Moritzian " -inspired stories include Lies und Lene ; die Schwestern von Max und Moritz ( Hulda Levetzow , F. Maddalena , 1896 ) , Schlumperfritz und Schlamperfranz ( 1922 ) , Sigismund und Waldemar , des Max und Moritz Zwillingspaar ( Walther Günther , 1932 ) and Mac und Mufti ( Thomas Ahlers , Volker ... |
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23207 = = Partial list of works = = |
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23208 = Crown Fountain = |
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23209 Crown Fountain is an interactive work of public art and video sculpture featured in Chicago 's Millennium Park , which is located in the Loop community area . Designed by Catalan artist Jaume Plensa and executed by Krueck and Sexton Architects , it opened in July 2004 . The fountain is composed of a black granit... |
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23210 Residents and critics have praised the fountain for its artistic and entertainment features . It highlights Plensa 's themes of dualism , light , and water , extending the use of video technology from his prior works . Its use of water is unique among Chicago 's many fountains , in that it promotes physical inte... |
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23211 Crown Fountain has been one of the most controversial of all the Millennium Park features . Before it was even built , some were concerned that the sculpture 's height violated the aesthetic tradition of the park . After construction , surveillance cameras were installed atop the fountain , which led to a public... |
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23212 However , the fountain has survived its contentious beginnings to find its way into Chicago pop culture . It is a popular subject for photographers and a common gathering place . While some of the videos displayed are of scenery , most attention has focused on its video clips of local residents ; hundreds of Chi... |
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23213 = = Concept and design = = |
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23214 Grant Park , which is between Lake Michigan and the central business district , is commonly called " Chicago 's Front Yard " . Its northwest corner had been Illinois Central rail yards and parking lots until 1997 , when it was made available for development by the city as Millennium Park . Millennium Park was co... |
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23215 = = = Selection of artist = = = |
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23216 In December 1999 , Lester Crown and his family agreed to sponsor a water feature in Millennium Park . Unlike other park feature sponsors , the Crowns acted independently of Millennium Park officials ; they conducted independent surveys of water technologies , held their own informal design contest , and stayed a... |
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23217 The Crowns were open @-@ minded about the choice of artist ; wanting a modern work , they solicited proposals from a list of prospective artists and architects . Jaume Plensa researched the traditions and history of fountains and studied anthropomorphism in fountain imagery . Some of his early ideas for the proj... |
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23218 = = = Artistic design = = = |
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23219 Prior to Crown Fountain , Plensa 's dominant theme had been dualism , which he had expanded to artworks in which the viewers are outside , and the visible subjects of the art are inside containers and hollow spaces . In the 1990s , he completed several outdoor sculptures in which he explored the use of light ( T... |
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23220 Plensa explores dualism with Crown Fountain , where he has two randomly selected faces " conversing " with each other . Plensa feels that by using faces , he can represent the diversity of the city both in ethnicity and in age . The artist intends to portray the sociocultural evolution of the city by updating th... |
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23221 Plensa feels that the challenge in the creation of successful work of public art is to integrate the viewer into an interactive relationship with the art . The fountain is known for encouraging its visitors to splash and slide in the reflecting pool , jostle for position under the water spout and place themselve... |
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23222 = = = Video production = = = |
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23223 Approximately 75 ethnic , social , and religious Chicago organizations were asked to provide candidates whose faces would be photographed for integration into the fountain . The subjects were chosen from local schools , churches and community groups , and filming began in 2001 at the downtown campus of the Schoo... |
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23224 Each face appears on the sculpture for a total of 5 minutes using various parts of individual 80 @-@ second videos . A 40 @-@ second section is played at one @-@ third speed forward and backward , running for a total of 4 minutes . Then , there is a subsequent segment , where the mouth is puckering , that is str... |
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23225 To achieve the effect in which water appears to be flowing from subjects ' mouths , each video has a segment where the subject 's lips are puckered , which is then timed to correspond to the spouting water , reminiscent of gargoyle fountains . Each face is cropped so that no hair and usually no ears are visible ... |
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23226 = = Construction and engineering = = |
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23227 The Crown family , for whom the fountain is named , donated $ 10 million of the $ 17 million construction and design cost . The Goodman family , known for funding the Goodman Theatre , was also a large contributor ; the entire $ 17 million cost was provided by private donations . The initial proposed cost for th... |
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23228 After two architectural firms refused the contract to make Plensa 's design a reality , the firm Krueck and Sexton Architects accepted . Public art was a departure from Krueck & Sexton 's residential and corporate office @-@ dominated portfolio , which includes buildings like the Spertus Institute . Collaboratio... |
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23229 After several dozen glass manufacturing firms were interviewed , L. E. Smith Glass Company emerged as the company to produce 22 @,@ 500 glass blocks near the upper limit of the size of press glass formed from hand @-@ poured molten glass and cast iron molds . The process used sand and soda ash heated to a temper... |
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23230 The glass was custom @-@ made at a factory in Mount Pleasant , Pennsylvania , and shipped to the structural glass panel manufacturer in Melbourne , Florida . The panels were then shipped by truck to Chicago . The glass is white glass , rather than the usual green glass that results from iron impurities . This ha... |
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23231 The structure for the blocks was a challenge . At first , the design team had considered switching to plastic blocks , until the team found Circle Redmont Inc . , a prefabricated glass panel company in Melbourne , Florida which specializes in structural glass panel systems . Circle Redmont came up with the plan ... |
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23232 The fountain uses 11 @,@ 000 imperial gallons ( 50 @,@ 000 L ) per hour , 97 % of which is recycled back into the system . Getting the water to the spout took ingenuity . Although consideration was given to omitting a LED tile , it was determined that the images would then look as though they were each missing a... |
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23233 The fountains use over one million LEDs . The inner surface of each tower uses 147 smaller screens with a total of 264 @,@ 480 LED points ( each with two red , one blue and two green LEDs ) . The physical demands of LED screens , in particular the red , green , and blue long @-@ life light bulbs and the requisit... |
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23234 LEDs were chosen because they were viewed as the lowest maintenance option of the possible color changing fixtures . LEDs fit into an electrical circuit , causing illumination by the movement of electrons in the semiconductor material and making a filament unnecessary , so the bulbs never burn out and do not get... |
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23235 The 9 @,@ 423 @-@ square @-@ foot ( 875 @.@ 4 m2 ) pool used 3 by 3 feet ( 0 @.@ 91 by 0 @.@ 91 m ) pavers that weigh 250 pounds ( 110 kg ) . The pavers were rested on screw jack pedestals in order to be leveled and shimmed . The pavers had to be perfectly leveled for the water to work correctly because the foun... |
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23236 During construction the underground parking garage remained open . An additional challenge was designing the structure to facilitate interior access for ongoing maintenance and repairs , while accommodating two levels of underground parking underneath . The challenge was solved by combining a T @-@ bar grid to a... |
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23237 = = Dedication and operation = = |
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23238 = = = Unveiling = = = |
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23239 Construction of the video sculpture was completed for testing without the fountain 's water features on May 18 , 2004 . Originally , Plensa had planned to have each face appear for 13 minutes , and this continued to be the targeted duration when the testing of the sculpture occurred . Eventually , professors at ... |
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23240 Plensa 's design of Crown Fountain was unveiled to the public on July 16 – 18 , during the 2004 grand opening celebrations for Millennium Park , which was sponsored by J.P. Morgan Chase & Co . At the time of the unveiling , Crown Fountain , like the nearby Cloud Gate , was incomplete because only 300 of the vide... |
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23241 = = = Operation = = = |
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23242 The control center for the synchronization of images , water flow , and lighting color and intensity is beneath one of the towers , in a room that covers 550 square feet ( 51 m2 ) . The room houses high @-@ definition video servers and equipment temperature sensors . Hard drives contain all the individual electr... |
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23243 = = = = Video sculpture = = = = |
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23244 The front face of each tower is animated with a continuous , dynamic exhibit of lights and electronic images . Although the screens on the towers periodically display clips of landscapes such as waterfalls , most intriguing are the display of faces of Chicago residents . About 1 @,@ 000 faces of Chicagoans are s... |
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23245 The spouting water from the faces of the towers appears to be flowing from the displayed subject 's mouth from a 6 @-@ inch ( 150 mm ) nozzle located in the center of each interior face 12 feet ( 3 @.@ 7 m ) above the reflecting pool . Images are shown daily year @-@ round , while the water feature only operates... |
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23246 Each tower is illuminated from within on three sides by approximately 70 color @-@ changing Color Kinetics LED lighting fixtures per tower , while the fourth side features opposing Barco LED display screens . At night , some of the videos are replaced by images of nature or solid colors . Also at night , the oth... |
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23247 = = = = Fountain = = = = |
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23248 Crown Fountain has both slits and a grate for drainage ( pictured above right ) to drain the 11 @,@ 520 US gal ( 43 @,@ 608 l ; 9 @,@ 592 imp gal ) of water per minute . When the videos are not on the front of the tower , water cascades down each of the facades . The water is filtered , pumped and recirculated t... |
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23249 = = Controversies = = |
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