Off-grid video projection, 72 hour runtime. Location:Alien Acres, Preston Hollow, New York July 18-21 2014. Materials: Solar panel, sound system built from reclaimed wine boxes and reclaimed television speakers, pico-projector, four layer mesh screen from reclaimed polyester curtains, airplane cables, metal pipe frame crafted from reclaimed vintage tent poles, reclaimed half-dome beach tent.
Disruption hitches a ride on New York currents. Attending a presentation from down under and way over in the Washington Mews – former horse stables now echoing voices of the worlds regions – we learn that the Maori contribution to the Venice Biennale costs as much to ship from New Zealand to Venice as it does to then transport it from the Grand Canal to the venue. We also learn by depiction that we have already sunk parts of the world in polar melt and that some are busy crafting diving suits from woven zipper asylum seeker totes. Impatience is gripping the world of foresight due to a certain intractability inherent in the current machinations of man. Brett Graham is temporarily residing in New York to ponder the meaning of Indigenous artist. This sort of identity is very much intertwined with a notion of place and Mr. Graham takes us through the sixty guilders myth, said to have brought landed property to Turtle Island. Disconcerted by the security screening at the Museum of the American Indian he recounts being disheartened by the myth making inaccuracies of a sculpture depicting the beads for land grab he encounters in Battery park. Yet a statement he makes catches us in poetics: Manhattan, a meeting place of the canoes.
Flows dispelling the land outside traversal, maneuvered outside the commons, claimed use of game that wanders freely past, by hook or by crook. Mr. Graham, on a mission to dispel the myths that seek to lay claim for the landed and capitalized, erects dark monuments celebrating the fleeting romance of discovery in freshly pressed whites, a part of New Zealand being the last blank dot to be filled in to complete the colonial maps. In collaboration he codifies ancestral loss in a video where the development of a hydro-electric power station triggers a flood, erasing the previous. Though video as tool, still in the collaborative frame, can stem the tide of loss, short-circuiting mourning with defiance and elected office.
Flood or cascade, the view of Manhattan as a meeting of the canoes seems brilliant fleeting insight. More extraordinary, Mr. Graham unaware a treaty does exist governing life on the river that flows both ways, codifying mutual ebb and flow rather than demarcating boundaries for exclusions and ownership. The Two Row Wampum celebrates a quadricentennial and for a moment Manhattan reimagines a meeting of the canoes, renewing flow.
Subtext to this accrued sensibility, the flows rejuvenate a treatise, the founding Sachems inspired a now disoriented giant left standing, dalliance to the world for word. In another borough, another museum solicits extended parlance daring a sinking Venice. No shipping of a new media installation clear across the world, instead rafts in crude assemblage, arriving as islands of cramped mayhem by making Adriatic inroads to the canals.
“I think that people can pick up where governments are failing.” – #swoonstreetart
Take your iPhone off-grid with this bonus #IKEAHack:
An incredibly easy way to calculate the sun exposure is with an app called Sun Seeker. The map view will let you calculate how many hours and at what angle your panel is exposed to direct sunlight. Another handy app is Level to easily match the angle of the sun when mounting the solar panel to the Grundtal shelf. Please take care not to drop anything on peoples heads below should that be a possibility. There are many creative ways to catch rays without putting anyone in danger.
The following are the components that seem to work in this case, the assumption being that the wall charger supplied with these lithium ion batteries is “dumb” so that the battery contains a “smart” shut-off regulator. The panel on the other hand provides overload protection and prevents the battery from discharging through the panel. These are two ways it is possible to damage either the battery or the panel and it is only via limited experience and not rigorous testing or in-depth calculation that the above assumptions are made.
Drilling through the frame of the solar panel can be a bit tricky. Best to go slow and wear eye protection. Used some straight metal support brackets that were lying about and some bolts that matched to clamp the panel to the arms of the Grundtal shelf. To secure the bolts Threadlock comes in handy. Once hooked on two zip ties seem to be sufficiently anchoring the solar panel mount in place but it’s probably a wise idea to bring the whole solar panel mount indoors during inclement weather. A solar panel is only effective at generating electricity when the sun is shining on it in any case. Using a soft bristle paint brush to regularly dust off the solar panel will boost efficiency.
An empty ice-cream canister is one of possibility for connecting the panel to the battery. Mount two bolts to clip on the leads from the solar panel and then inside the jar connect them to a small plug (red + wire to center pin, black – to outer sheath) also mounted in the lid to accept a cable to connect to the input on the lithium ion battery for an easy plug and charge solution without changing any of the leads. The battery can be used to charge or power the iPhone and many other devices even while receiving its own charge from the solar panel.