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Which clippings match 'Crash Test' keyword pg.1 of 1
20 JULY 2013

The key image of the present day is the man in the motor car

"In all of these experiments, aborted works, happenings, events, the motif of the car crash is crucial. Ballard sought to understand the role that automobile styling, and mass consumerism, plays in our lives. His sights were set on what he saw as the built–in death drive that technology embodies, the effacing of identity, the shutting off of our neurological systems. Our willingness to submit to the amniotic bliss of the technological womb. Of course, today we know where all this would eventually beach: his 1973 masterpiece, Crash. But in 1971 Ballard was still pushing the farthest limits of his obsession, refining riffs and routines, expanding the parameters of the car crash as far as popular culture would allow. Crucially this was far beyond the stuffy confines of 'literature', which Ballard has never had much time for, and into visual art and film: the realm of the popular imaginary."

(Simon Sellars, 10 August 2007, Ballardian)

Fig.1 dir. Harley Cokeliss, "Towards Crash!", 1971. 16 mm Eastmancolor transferred to video, sound, 17:34 min. Courtesy the artist. © BBC TV 1971.

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TAGS

16mm197120th centuryabsurd condition of humanityBBC TVBBC2bodily formbodybody experiencecarcar crash • car wash • collisionconsumerismcrashcrash test • crash test dummy • death • Eastmancolor • experimental filmGabrielle Drake • Harley Cokeliss • Harley Cokliss • human interpretation • J G Ballard • James Mossman • Kodak Eastmanmachine aestheticmeaninglessness of life • motorcar • motoristprotection • romancing technology • romanticismsex and machines • styling • suffering and inevitable deathtechnological shaping of sociality • technological system • technoromanticism • The Atrocity Exhibition (1970) • Towards Crash (1971) • traumavisual codes

CONTRIBUTOR

Simon Perkins
08 APRIL 2013

The Invisible Inflatable Airbag Bicycle Helmet by Hövding

"Fredrik Gertten profiles two idealistic young female entrepreneurs who created a revolutionary 21st–century design object everyone told them would be impossible to fashion."

(Focus Forward Films, 2012)

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TAGS

2005 • airbag • Anna Haupt • auto inflatable • bicycle • bicycle helmet • bikebusiness womencollisioncrashcrash testcrashworthinessdesign innovationdesign studentsentrepreneurentrepreneurship • Focus Forward Films • Fredrik Gertten • GE Focus Forward • helmethighway safety • Hovding • industrial design • inflatable airbag bike helmet • invention • invisible bicycle helmet • Lund UniversityMasters studentsproduct designproduct designerprotectionprototyperoad safetysafetysafety by designSwedishtechnical innovation • Terese Alstin • The Swedish Film Institute • WG Film • women designerswomen in art and design

CONTRIBUTOR

Simon Perkins
26 MARCH 2012

Crash test: the 2009 Chevrolet Malibu vs. the 1959 Chevrolet Bel Air

"In the 50 years since US insurers organized the Insurance Institute for Highway Safety, car crashworthiness has improved. Demonstrating this was a crash test conducted on Sept. 9 between a 1959 Chevrolet Bel Air and a 2009 Chevrolet Malibu. In a real–world collision similar to this test, occupants of the new model would fare much better than in the vintage Chevy.

'It was night and day, the difference in occupant protection,' says Institute president Adrian Lund. 'What this test shows is that automakers don't build cars like they used to. They build them better.'"

(Insurance Institute for Highway Safety, 9 September 2009)

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TAGS

1959200950th anniversaryanniversaryautomaker • build them better • carcar crash • cars • Chevrolet • Chevrolet Bel Air • Chevrolet MalibuChevycollisioncrashcrash testcrashworthinessdebunkingdemonstrationdesign • dramatic demonstration • engineering • GEP • good engineering practice • high-speed camerahighway safetyhistorical revisionism • IIHS • insurance • insurance company • Insurance Institute for Highway Safety • protectionreal-worldroad safetyrobustnesssafetysafety by designslow motionslow motion photographytestUSAvintage

CONTRIBUTOR

Simon Perkins
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