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Wendell Colson, 2008 CEO National Conference Science and Technology Track Research, Development, Innovation, and Intellectual Property Wendell Colson, Director of Research (More) Research, Development, Innovation, and Intellectual Property Wendell Colson, Director of Research and Development, Hunter Douglas, Inc. Mr. Colson will recount his early days as a start-up entrepreneur, review some of the setbacks suffered and lessons learned, as well as discuss the critical roles of innovation and intellectual property rights in making a start-up business successful. Wendell Colson graduated from Princeton University with a degree in architecture. After completing his studies, he founded an entrepreneurial business, Thermocell Ltd., with two partners. Thermocell developed, manufactured and marketed an energy-efficient insulating window covering product. The product featured an innovative and patented “honeycomb” structure. After several years selling this product with modest success, Thermocell was sold to Hunter Douglas, Inc., a large window coverings and home furnishings company. Hunter Douglas converted the Thermocell product into a premium fashion window covering product, which achieved record-breaking sales and won numerous industry awards for design and innovation. After the sale of Thermocell, Mr. Colson became Director of Research and Development for Hunter Douglas and was instrumental in the development of many other highly successful window covering products. Today, with over 100 patents to his name, Wendell Colson is engaged in ground-breaking research and development work in adhesive and lamination technology, structural elements for architectural and construction products, and innovative synthetic and fabric materials. (Less)
Disinformation "Blackout" Sound Mirrors This sequence features brief extracts from "Blackout (The Antiphony Video Supplement)" by (More) This sequence features brief extracts from "Blackout (The Antiphony Video Supplement)" by Disinformation - Barry Hale's highly influential (and frequently copied) film of concrete parabolic air-defence Sound Mirrors, built at various sites on the UK coast between WW1 and WW2. "Blackout" was conceived as an installation supplement to Sound Mirror images by photographer Julian Hills (taken in January 1996) which appear on the sleeve of the Disinformation "Antiphony" double remix CD, published by the record company Ash International in 1997 [1] [2].
Barry Hale's Sound Mirror video has been shown at NTT ICC (Tokyo), The Royal College of Art (London), Galerie fur Zeitgenossische Kunst (Leipzig), The Art House (London), Schirn Kunsthalle (Frankfurt), The Dom (Moscow), and exhibited at The ICA (London), CCCB (Barcelona), The Mac (Birmingham), Now 1999 (Nottingham), Waygood Gallery (Newcastle), Quay Arts (Isle of Wight), Wrexham Arts Centre, South Hill Park (Bracknell), Saltburn Artists Projects, Q Gallery (Derby), Study Gallery of Modern Art (Poole), Event Gallery (London), Ginza Art Lab (Tokyo) and The Latvian National Museum of Art.
Documentation of the Disinformation project appears in The Wire magazine in 1997; in "100% Pylon" by Angus Carlyle, pp. 68-83, "Themepark" 2, 2000; in The Hayward Gallery "Sonic Boom" catalogue, pp. 26-29, 2000; the "Sound Art - Sound as Media" catalogue, pp. 70-73, NTT ICC Tokyo 2000; "The Analysis of Beauty" exhibition catalogue 2003; the "Waves" catalogue, pp. 48-49, Latvian National Museum of Art 2006, and others. The "Antiphony Architectural Supplement" appears in Sound Projector, issue 6, pp. 57-64, 1999.
The long version of this film runs just short of 20 minutes, and (even in 2008) remains one of the most comprehensive visual surveys of these extraordinary structures ever conducted. One element notable by its absence from this edit is the long (and beautiful) abstract sequence which Barry created for the middle of the full version of this film.
This video is virtually identical to later films by Tacita Dean and Lise Autogena, etc [3], and if there is any confusion about the similarity between the original Sound Mirrors film and Tacita Dean's (much later) film "Sound Mirrors", readers should refer to art historian and curator Anda Rottenberg's letter to Art Monthly [4] about the similarity between artist Katarzyna Kozyra's film "Bath House" - of people chatting in a bath house in Budapest, and Tacita Dean's (much later) film "Gellert" - also of people chatting in a bath house in Budapest! What's most surprising is the fact that Tacita Dean's "Sound Mirrors" was commissioned (by The Public Art Development Trust) AFTER these "methods" had been exposed in the art press.
In a virtuoso display of institutional gullibility, a plan by artist Lise Autogena to build 2 new communicating sound mirrors received funding from The Royal Society of Arts "Art for Architecture" scheme, The Arts Council England, Creative Partnerships, Shepway District Council and South East Arts, and support from Arts Catalyst, Demos, Fondation de France, and £70,000 from The National Endowment for Science, Technology and the Arts, despite Autogena freely admitting that (in her own words) she knows "absolutely nothing" [5] about acoustics! Anyone with any knowledge of meteorological or acoustic science would know that any proposal to use parabolic reflectors to transmit human speech across the English channel always was inherently technically unsound. However, when in trouble, reach for the "community", so this expenditure has not only been rationalised as a product of "idealism", but also justified on grounds that it provided opportunities to host workshops teaching schoolkids about (no kidding) "science".
Despite the precedents, Autogena's website declares her ideas to be "groundbreaking" and "innovative" (!) and (equally predictably) contains passages that are almost verbatim quotes from earlier "Antiphony" texts. Writing in The Guardian, Tom Dyckhoff reported Autogena's promise to deliver the finished project "in 2002"... six years later, you'd have thought the penny might have dropped, but resources are still being diverted away from viable projects to try and keep this one afloat. The greater tragedy is that in response to increased public interest, a deep trench has now been cut in front of the main Sound Mirror site, which can only be crossed over a metal swing-bridge, which is normally locked shut - in other words the great and the good have responded to public enthusiasm for the Sound Mirrors, by spending public money on restricting public access to the Sound Mirrors.
[1] http://www.discogs.com/release/117617
[2] http://rixc.lv/waves/en/txt08.html
[3] The correct chronology of these projects is documented in "Listening for the Enemy" by Brian Dillon, pp. 68-71, "Cabinet" 12, New York 2003
[4] Art Monthly, Oct 1998, page 14
[5] "I'm on the Beach" The Guardian, 13 June 2001 (Less)
Architectural Record June 2008 
2009-08-03 - extension: rar - size: 30 MB
Architectural Record June 2008
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AR-2008-01 sobisvn softarchive net 
2009-06-06 - extension: pdf - size: 77 MB
AR-2008-01 sobisvn softarchive net
Architectural Record - January
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Architectural Record - April
2008 Hosted on: rapidshare.com
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