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If only they were all mine... 42 of them are :) the others are noted by the book they are from.
So, thank you for looking, commenting, favoriting and generally being interested. That seems to be the right formula to make Explore. :)
1. Minou Wrap, 2. Jumping: New shoes! (365.1 ... maybe), 3. My Little Troublemaker, 4. Inca Earth Mitts, 5. Printed Silk Cardigan, 6. Star Still Life, 7. Progress - Hexagon Komb Afghan, 8. Valentine's Orchid,
9. 100% woven by ME, 10. Beau Completed, 11. Six Years, 12. Street Smart Hoodie!, 13. Asymmetrical Cardi, 14. Score! Recycled Tweed!, 15. Aftur Finished, 16. Silk Garden Lite Socks,
17. Noro Sakura, 18. Handknit Chullo, 19. Easy Street Pulli, 20. 14th Street Townhouses, 21. Dream in Color, 22. Knitting in a Conference, 23. Lake Michigan, 24. Roadside Knitter,
25. Slip Up Socks, 26. Whitby Socks Completed, 27. Patons Yoked Pulli, 28. Whitby Progress, 29. Patons Cabled Vest, 30. Canyon Hiking Socks, 31. Shades Socks Complete, 32. Red/Black/Metallics Beads and Baubles,
33. Shades socks, 34. Kat's Skirt, 35. Habu's Yarn Wall, 36. Doctor's Bag, 37. Trekking "Shades Sock", 38. Wren Cardigan, 39. Mirror Egg Reflections, 40. New Wellies and my Fetching Mitts,
41. Ram's Horn Jacket, 42. Green Sock Knitalong, 43. Kris's New Lopi Sweater, 44. Supplies for Paper Snowflakes, 45. Over-the-Knee Stockings Planned, 46. Ballet Camisole, 47. Newsboy Cap, 48. Completed Carla alternate view,
49. Noro Transitions Cowl, 50. Red Shoes
Created with fd's Flickr Toys.
In a specially created room, Bio Ink research recently entered its second phase – at the studio of the Ars Electronica Futurelab. An experimental setup of chemical substances, test tubes and electronics serves the research team, consisting of Yoko Shimizu, Georgios Tsampounaris, Samuel Jakob Eckl, and Anastasia Bragina, as a factory of innovation. Once again, digital Wacom pens and tablets act as the starting point for the creation of Bio Ink artworks: living messages, created in a creative symbiosis between microorganisms and humans.
This time, however, the idea goes a decisive step further: the researchers can now actively interact with the microbial design process via the chemical reaction chamber and a digital touch display.
During the process of drawing, the system captures digital pen data, such as pen pressure, drawing speed and tilt, and converts them into biological parameters, such as temperature, humidity and biochemical reactions. A chemical reaction chamber then allows the researchers to automatically or manually interact with the living artworks as they grow.
Credit:
Ars Electronica Futurelab
Wacom
Photo: Birgit Cakir
Created by Benjamin John Coleman. Leave a comment on the blog to win an Origami Bonsai kit by September 22, 2013.
Blogged: www.allthingspaper.net/2013/09/origami-bonsai-kit-review-...
Created by Maricopa Wells Middle School, Maricopa, AZ
Participants: Art classes, 360 students worked to come up with ideas.
Teacher: Tonya Oakley
Title: Innovation and Imagination
Theme: Adventure by Air: Discovery, Exploration and Innovation through Flight
Materials and techniques: Markers, color pencils, crayons, paper
Learn more about the Dream Rocket Project and how to participate at www.thedreamrocket.com
I created this chart with the help of Oscar van der Velde. It was put together for educational purposes. Below is a descrition of each of the events:
Sprites: They initiate between 65 and 85 km in altitude and are typically triggered by a positive cloud-to-ground lightning strike. The streamers first grow downward and then upwards before disappearing. They are mainly red in color but as they grow downward they will transition to purple and then to blue.
Halos: They are typically triggered by a positive cloud-to-ground lightning strike like sprites and will sometimes appear together with sprites. They initiate at about 80-85 KM and will typically look like a red oval shaped cloud.
Trolls: They occur during long-lasting sprite events with ongoing lightning activity in the cloud and with long lasting +CG currents to ground. Its hard to link them to a particular cloud-to-ground lightning strike. They are mainly purple in color like the tendrils of a sprite and will transition to blue towards the bottom.
Elves: They are an electromagnetic pulse that originates at the same time as the cloud-to-ground lightning strike. They project a ring of red light as electrons at the base of the ionosphere excite nitrogen molecules. They typically appear at about 90 Km in altitude and are considered the most common type of Transient Luminous Event.
Blue Starters: A blue starter is an electric streamer discharge that initiates under the screening layer at the cloud top. They start out as a white channel rising from the cloud top that quickly transitions to a blue fan shaped plume as it travels upwards to about 26 Km in altitude. The white channel is rarely seen because they are typically obscured by the cloud.
Blue Jets: They are often linked to charge removal by negative cloud-to-ground lightning. They initiate under the screening layer at the cloud top and they start out as a bright white channel rising from the top of the storm cloud that quickly transitions to a blue coned shaped plume as it travels upwards to about 40 Km in altitude. The white channel is rarely seen because they are often obscured by the cloud.
Gigantic Jets: Unlike Blue Jets and Starters, a Gigantic Jet initiates in the middle of the storm cloud. They start out as a bright white channel rising from the cloud top that quickly transitions to blue and then to red as it climbs as high as 80-90 Km in altitude. They are usually preceded by multiple negative cloud-to-ground lightning and will typically appear during a null in the lightning activity.
Patients waiting all day to see Dr. Samuel Burg or a volunteer dental hygienist. Craft stations were created to keep children busy as they wait.
About the Healthy Smiles Program
Since 1994, the Healthy Smiles by Direct Relief has provided free dental treatment to 1,800 low-income, uninsured school-age children with severe need. Sponsored by Healthy Smiles, one-day free clinics are hosted by local dentists and Healthy Start programs throughout Santa Barbara County.
This free-clinic event was hosted by Dr. Samuel Burg and was staffed by volunteer dentists and hygienists who provided dental care and education to over 60 children that day.
Receiving services are low-income, uninsured children identified by their schools as needing professional dental care that they would not have been able to receive without the program.
Additionally, children received Dental Packs – toothbrushes, toothpaste and floss – that were donated by multiple healthcare manufacturers to Direct Relief and packed by volunteers at Direct Relief. For some families, event the cost of a toothbrush is too much and children go without. These donated products ensure that children can continue the good oral hygiene practices they learn during their free clinic visitl.
Each year, Direct Relief distributes approximately 1,000 child dental kits and 3,400 family dental kits (each of which serves a family of five) with donated dental supplies, which Direct Relief then allocates to their local partner agencies. These agencies distribute the dental kits to the low-income children and families whom they already serve.
(Photo by Alex Beauchamp)
Created from an artwork by the late Hong Kong Artist Ah Chung (1933-2018).
To learn more of the artist or purchase a Giclee print of the artwork, please visit www.ahchung.com.hk
Stamped with several brilliance inks
Stamps used:
HA Pattern Butterflies LP110
HA Designer Flourirshes LL221
HA Treasure the moment CL156
Created by Students at Waltham High School, Waltham, MA
Title: Who Am I?
Theme: Life’s Journey (Migration – Immigration – My Future)
Teacher: Mary Coughlan
Materials and techniques: Acrylic paint on prepared linen
She mentioned that she forgot she had worn the sunglasses that day, but would quickly remember each time someone looked her way and smiled or laughed.
I also liked her t-shirt but didn't read it until later. I wish I had asked about it. It reads: there are only two kinds of ships... submarines and targets.
My lucky clover.
+ Canon EOS 650D with EF 50mm f/1.8 II (+4 macro filters)
+ Maribor, Slovenia
Visit my Deviantart
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage