View allAll Photos Tagged Control
This is how I feel the Government or in this case Pharmaceutical companies treat us. They want to keep parents as much in the dark as possible and make it extra hard if you choose not to go their way. We have been debating if we should give Maya vaccines or not and still are not 100% sure but are leaning more towards not giving them to her. The recent rise in research and awareness of the side effects of vaccines are scary! Specially the cases of Autism after the 12 month vaccine are frightening. Just last week on Thursday a good friend of Laura's went to get their babies first vaccines one of them was against whooping cough. Sunday the same week they were with her in the Hospital and she almost had respiratory arrest!!! Diagnosed with whooping cough!!
I am not going to go into details because I could write pages and pages about my rage over this. Whoever wants to read up on it you can go to the Vaccination Risk Awareness Network Website
As coastal artillery guns became larger, and their range increased, growing demands were placed on the fire control systems that targeted potential naval targets. By World War II the 16” guns of Battery Townsley and Battery Davis could fire a projectile 25 miles to sea. And there is a lot of sea out there at that range. To be effective the projectile would have to strike its target and that is where the artillery fire control system came into play.
Fire control systems basically sighted targets from multiple vantage points along the shore. The vantage points were connected by baselines of known relationship. The sighting direction from each fire control station was transmitted to a central fire control plotting room where the readings were fed into an analog computer, essentially adjustable arms on a large plotting table (see video). The coordinates of a target ship were updated at 20 second intervals to establish a ship trajectory, A projectile fired by the 16” guns was in the air for about 90 seconds so several intervals of plotting would occur while the load was in flight.
Coastal batteries with smaller weapons could use fire control stations that were relatively close to each other. However, the range of the 16” guns required fire control stations that were quite far apart. In the Bay Area these began down past Pacifica to the south and ranged all the way up to Wildcat in Pt. Reyes. The Hill 640 Military Reservation, located on coastal bluffs just south of Stinson Beach near the intersection of Panoramic Highway and Highway 1, had five fire control stations with each station associated with a different 16” gun installation. The site has fire control stations for completed batteries (Townsley and Davis) and unfinished batteries (129 and 243) plus a fifth fire control station of unknown association. It is interesting that while the fire control stations all belonged to the same era they have different designs. There must be a story behind this circumstance. It is also interesting that targeting information was not shared between the batteries.
Our visit found the fire control stations all grouped together above Highway 1. They seem to be in pretty good shape for structures built 70 years ago.
I am taking these aerial photographs as a volunteer with the Golden Gate National Recreation Area. For more information see kapcris.com/coastaldefenses/
I added cruise control to my 2007 Yaris Liftback a while ago and I realized that I never documented it. Its sort of cheating since the ECU already has the software loaded. All I had to do was tap into the pin and create a resistor ladder with multiple taps for the different buttons.
School of the Future creates the setting for discussions about technology, society and art right in the middle of Tokyo. The format consists of a regular series of temporary exhibitions and round-table discussions that the Ars Electronica Futurelab stages in the Tokyo Midtown complex in the heart of Japan’s megalopolis. The first edition was called "Out of Control".
Credit: Tokyo Midtown
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Lowland rice weeds / POACEAE (grass family)
Weed name: Leersia hexandra Sw.
books.google.com.ph/books/irri?id=tqRtCQ9WMLUC&pg=PA2...
Part of the image collection of the International Rice Research Institute (IRRI)
This is all that is left of the old Stapleton Airport. The rest of the land is being developed into residential and retail.
Upland rice weeds / CYPERACEAE (sedge family)
Weed name: Cyperus rotundus L.
books.google.com.ph/books/irri?id=tqRtCQ9WMLUC&pg=PA2...
Part of the image collection of the International Rice Research Institute (IRRI)
Sign denoting a "Drinking Control Area" in Southend-on-Sea, England. This does not seem like a fun area.
We used the temp controller as a easy bake oven to make saag paneer. I started off with a
gallon of week old raw milk and just added a little yogurt and kefir
whey. I placed the milk in a 110F chest cooler for the next eight
hours. A 75W light bulb was being driven by the temp controller to
hold temperature. It looks like this yogurt cheese would also be great
for fondue.
5th January 2021., Dublin Airport, Ireland
Noted at Dublin Airport was this Border Control Post sign,Has Dublin Airport made a UDI ( Unilateral Declaration of Independence), will the airport raise a new flag, have a new Anthem and muster an army ?
“Control Headquarters” doesn't exist! However, this building I photographed does! Image editing consisted of converting to black and white, dodging, burning and levels adjustments.
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Full Artist's Statement
For me “Control Headquarters” is a representation of a mythical man made structure where the agents of Control work against the forces of Chaos. It is a digital photo of an actual architectural structure in my home town, Perth. Image editing consisted of converting to black and white, dodging, burning and levels adjustments.
Thanks to the television series “Get Smart” with agents 86 and 99 for inspiring the title. The image reminds me of the elaborate entry into Control Headquarters that agent 86 had go through at the start of each show.
There is nothing organic or random about the structure. It’s constructed entirely of man made building materials. It’s a totally controlled environment.
Down in the bowels of this structure is a door to an office. The light is on.
But is it a case of “The light is on but nobody’s home!” ?
Does Control Headquarters really exist? Does Control exist?
Despite all our supposed intelligence, technological creations, and maturity my life experience has shown me that we (human beings) have very little control over our lives even when it may appear otherwise. Seemingly random events can quickly turn our lives into turmoil.
I assert that control does not exist and that we would all do better to stop chasing the dream of control. Let’s face it if we ever got to a point of total control it would probably bore us to death. We need to be more embracing of change and the randomness of life to cope better with all that this chaotic life throws at us.
At an exhibition of this work a fellow photographic artist Louise Mann also of Perth remarked to me that she loved the “7” in the work. I had not intentionally sort to create a number within the structure and hadn’t seen it. Initially very surprised I hadn’t seen it then very annoyed because once pointed out I couldn’t stop seeing it.
Damn! I didn't intend people to see 7 but once pointed out it was bleedin’ obvious and I was worried it might detract from the image and spoil the message I was trying to get across with the image. I was hoping the viewer would see an office door with bright light glowing through glass windows above and to the side of the door - the entry to Control Headquarters - where the light is on but nobody is home!
So I asked her what the “7” meant to her. She replied :-
“The '7' in control headquarters is, in my opinion, wonderfully discordant! It’s an odd number so its not generating implied balance, but it’s not as acceptable as '3' nor as tidy as '5'. It leaves me with the question - 'what is the significance of '7'?' This doesn't have to be a question of the photographer's significance, just the significance of it appearing all on its own! Because it’s the lightest part of the image, I'm drawn to it and I'm wanting to work it out - I can't, but I want to - so that gives the image the power of drawing me back to it.”
– Louise Mann, Photographic Artist, in reply email 29 August 2006.
I agree with Louise’s assessment of the 7 as wonderfully discordant. Once seen it certainly made me feel uncomfortable and drew me into the image again and again. I also can't work it out.
I think this is because it is one of only a few recognisable elements in the image that a viewer can latch on to make sense of what the image is. The other elements are small and in the shadows so being the brightest element the 7 really leaps out as the recognisable. However after recognising the 7 the viewer can't build on that base to understand what the image is because it is out of context. Leading the viewer to try to disregard the 7 to read the image again. Also the fact that the 7 is separated into 2 parts begs the question is it really a 7? Does the 7 belong in the image? If that's a 7 what is the rest of the image?
This struggle to resolve the ambiguity of the image and find something recognisable and solid to grab onto ties back beautifully into the title and theme of the work "Control Headquarters". I think that resolving the ambiguity is our first reaction to control our lives. Recognising what we see (our environment), categorising it, and taking appropriate action allows us to avoid harm and feel safe and secure.
The strong geometry and other recognisable elements in the image along with the fact that is a photo of a real world subject give enough clues to what the image is of that a viewer can't automatically categorise it as "Abstract" and happily move on to the next image. They will try to work out what it is to control it.
By dodging the 7 to absolute white (or just about) to create the window effect I was after I have really introduced a new element into the image which is out of context and discordant. Being the brightest part it draws the viewers attention to it however because it is very small the rest of the image actually manages to compete with it for the viewers attention.
The importance the eye wants to attribute to the 7 just because it is the brightest part of the image is discordant with the amount of real estate it occupies on the paper. I think our brain recognises that discordance and logically looks to analyse the rest of the image to make sense of it but our eye keeps getting drawn back to the highlight 7.
I am very pleased with this result as this quandary certainly adds considerable depth and impact to an image that started out as a study of geometry and a play of light.
- Mike Wishart
Artist / Photographer
23 February 2007
Please click here to see a show of my Top 10 images
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The new network of small ponds features many, many flow control structures.
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With the arrival of fall the nesting season is over and I am allowed to photograph in the South Bay again. This year I received a request to photograph a construction project that is subdividing Salt Pond A12 into series of smaller managed ponds to serve as avian habitat. The ponds will be kept at different salinities.
This project occurs along the banks of Mt. Eden Slough, the “cradle of San Francisco’s salt industry” according to author John Sandoval. This section of former marsh is where the first small salt operations appeared in the 19th Century and here remain the most interesting of old salt works ruins, some so faint they are at the threshold of perception. The land is now going through yet another transformation as part of the South Bay Salt Pond Restoration Project and will see considerable change over the next few years. It should be fun to watch.
The set captures the construction project well underway as heavy machinery creates distribution ditches and flow control structures. Many photographs in this set are prosaic images documenting construction. But the session also found some interesting surface textures, particularly in the machine worked layers of clay that line the new ditches. The set also contains a few photographs of Mount Eden Creek Marsh, an area restored to tidal flow in 2008.
I am taking these documentary photographs under a Special Use Permit from the California Department of Fish & Wildlife. Kite flying is prohibited over the Eden Landing Ecological Reserve without a Special Use Permit, as is access to this part of the Don Edwards National Wildlife Refuge.
plusieurs fois par jour, la police patrouille dans le quartier, rafle des sans papiers, contrôle et harcèle tout-e-s celles et ceux qui ne marchent pas droit.
Tous ces flics, ajoutés aux caméras de vidéosurveillance et aux lois sécuritaires sont autant d'outils qui permettent à l'état de mener la guerre aux pauvres, de chasser les indésirables qu'il ne souhaite plus voir dans les rues : pauvres, sans papiers, roms, biffins etc...
Mais il est possible de s'opposer aux contrôles et aux arrestations, de créer des solidarités qui rendent le travail de la police plus difficile.
SOYONS INCONTROLABLES !
big thanks to Karen for this texture
Buscando por Internet algunas propuestas que ayuden a discernir el tema sobre control o mandos de consolas de videojuegos para discapacitados, encontré un website donde el autor propone adaptaciones a controles y consolas completas para un disfrute de los videojuegos por parte de las personas con discapacidad.