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PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
Wel dringen met al die snelle meiden in de laatste serie.
Er was één valpartij bij de start en een duw in de laatse bocht schakelde Esther Platteeuw uit.
Winzerfest Braubach 2010
Mareike, Irena und Dennis
Sony Alpha 100
Minolta 1,7 50mm
Eins, zwei, drei, gluck gluck
mer dringe noch'n Schluck
der Wein, der kommt vom Himmel her
drum dringe mer das Fäßche leer... (in Hochdeutsch nicht authentisch)
3FM Serious Request vraagt dit jaar aandacht voor de allerkleinsten. Elk jaar sterven er namelijk 5,5 miljoen baby's. Met jouw donatie hopen we dit cijfer terug te dringen!
Het 3FM Serious Request Glazen Huis staat dit jaar op de Oude Markt in Enschede.
Wil jij ook een donatie doen? www.3fm.nl/doneren
1955
L’Assemblée législative du Québec promulgue une loi spéciale confirmant la raison sociale de la nouvelle entreprise qui portera désormais le nom de Québec-Téléphone.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
Actress Micaiah Dring at the Crying With Laughter photocall at the Mercure Point Penthouse, Edinburgh. 21st June 2009. Photograph: ©Valentina Bonizzi/EIFF Edinburgh International Film Festival 2009
3FM Serious Request vaagt dit jaar aandacht voor de allerkleinsten. Elk jaar sterven er namelijk 5,5 miljoen baby's. Met jouw donatie hopen we dit cijfer terug te dringen!
Het 3FM Serious Request Glazen Huis staat dit jaar op de Oude Markt in Enschede.
Wil jij ook een donatie doen? 3fm.nl/doneren
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
Mountain view - I think this is Guye Peak. We actually had a number of views dring the day of Cave Ridge, Kendall Peak and Guye Peak - when it wasn't lightly snowing.
the firt picture: Kichwa´s Native, from comunity Shiwayaku this name it´s means tree of water, in Kichwa lenguage. The place was in the middle of the jungle Amazons in Ecuador very nearly than Jatunyaku river. They live in the cabans and they washing their cloths and use this water for everything, for dring, cooking, and cleang themself. I taked this picture on agust from 2007, and I was surpise went I saw she was pregnant and working very hard now she got a litle baby girl.
Das Gleisbett ist in den ebenen Täler nur niedrig geschüttet und bei der Fahrt werden Unmengen feiner Staub aufgewirbelt, die ins Innere der undichten Waggons dringen.
I learned a new trick while we were at the outback steak house the other night ....I watched a bartender make a flaming dring and poured a powder over the top and it looked like this but in a glass...really cool ...
3FM Serious Request draait dit jaar om diarree. Jaarlijks overlijden er wereldwijd 800.000 kinderen aan de gevolgen van diarree en om dat aantal terug te dringen, zetten 3FM en het Rode Kruis zich van 18 t/m 24 december vanuit Leeuwarden in om zoveel mogelijk geld in te zamelen voor deze stille ramp. Details: www.3fm.nl
McCall's 8644; ©1966; The Mod Accessories - Bags, Vest, Handkerchief, Ties, Belts for Sizes 10-12-14-16. Triple pouch Bag A or B has open center pouch. D-rings on flaps close outer pouches. Adjustable strap for shoulder or hand slips through D-rings at sides. Vest C (unlined) has welt pockets. Dart fitted at front and back. Top-stitched edges. 2" Tie has straight ends; matching handkerchief 16" square. 4" Tie E has pointed ends. (Tie measurements taken a widest part.) 1 3/4" Fabric Belt F and felt Belts I and J fit hip 1 1/2" below waist; each has buckle and eyelets. I is trimmed with nailheads, J with contrast felt. 1 1/2" and 1 3/4" Braid Belt may be made to fit waist or hip at any level; interlocking buckle. 2 1/2" Fabric Belt H is fitted 3" below waist; fastened with decorative snaps.
Im Rahmen des "Etwas anderen Adventskalender" auf frame-less.com entstanden.
Den ganzen Tag nix zu tun gehabt und zehn Minuten bevor ich aus dem haus muss panisch angefangen mein heutiges Fotomotiv zu suchen. Ich muss dringen mein Zeitmanagment verbesser.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
Peter Doetschman, David Dring and some buds enjoy the mass trans ride as they scurry back to Bucktown.
The initiation of novice monks is occasion for a family celebration in Laos. The family shows its social status by bringing luxury stuff for the event, like Pepsi.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
Dode zeehonden moeten niet begraven worden.
Deze foto geeft een goed beeld van hoe de natuur zo'n dood dier opruimt.
Gelukkig begint dit besef meer door te dringen, lange tijd was het zo dat deze kadavers meteen onder de grond werden gestopt.
3FM Serious Request draait dit jaar om diarree. Jaarlijks overlijden er wereldwijd 800.000 kinderen aan de gevolgen van diarree en om dat aantal terug te dringen, zetten 3FM en het Rode Kruis zich van 18 t/m 24 december vanuit Leeuwarden in om zoveel mogelijk geld in te zamelen voor deze stille ramp. Details: www.3fm.nl
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
Just playing around with colors.
The brown bottle is from a science lab and is between 60 and 103 years old. The gin bottle was given to me. I don't dring alcohol, but I like the bottles that in comes in. I plan to remove the paper labels sometime.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
Veel korstmossen groeien zeer traag (soms niet meer dan 0,1 mm per jaar), en groeien daarom vooral daar waar ze niet door bloemplanten kunnen worden verdrongen. Men vindt ze bijvoorbeeld vaak op kale rots (bijvoorbeeld grafstenen en muren), waar ze in tegenstelling tot echte planten op kunnen leven, en soms zelfs in door kunnen dringen. Ze vragen niet veel voedingsstoffen, en kunnen die vaak halen uit het stof in de lucht. Ook kunnen ze in geval van uitdroging lange tijd, vaak jarenlang, in een rustfase blijven, en na toevoeging van water weer tot leven komen. Daarom vormen ze een belangrijke component van het leven in de poolgebieden en het hooggebergte, waar water grote delen van de tijd alleen in bevroren (en dus onbruikbare) toestand voorkomt. Denk hierbij bijvoorbeeld aan het rendiermos dat een groot deel van het jaar het enige voedsel van de rendieren in Lapland vormt. Ook zijn korstmossen een van de weinige organismen die een verblijf van twee weken in het vacuum en de extreem sterke UV-straling van het heelal kunnen doorstaan.
Over de voortplanting van korstmossen is niet veel bekend. Vermeerdering vindt plaats door sporen, die over grote afstanden door de lucht verspreid worden, en dan, als op de landingsplaats een geschikte alg wordt gevonden, een nieuwe plant vormen. Veel korstmossen hebben ook een aseksuele wijze van verspreiding, waarbij de schimmel en de algen samen blijven, zogenaamde sorediën (poeder) of isidiën (staafjes) en grotere fragmenten.
Milieu
Korstmossen zijn gevoelig voor luchtverontreiniging. Sommige soorten verdwijnen in gebieden waar de concentratie zwaveldioxide (SO2) hoog is. De aan- of afwezigheid van korstmossen wordt daarom wel gebruikt als een indicator voor luchtverontreiniging. In gebieden waar veel ammoniak in de lucht zit (uit de landbouw) verdwijnen sommige korstmossoorten. Andere soorten groeien echter beter met ammoniak, zoals Groot dooiermos (Xanthoria parietina). Baardmossen en struikvormige korstmossen zijn het gevoeligst voor luchtverontreiniging, korstvormige korstmossen minder. Gelukkig zijn de laatste jaren de korstmossen in Nederland en België zich weer aan het herstellen, doordat de SO2-uitstoot is verminderd sinds er minder kolen worden gebruikt in elektriciteitscentrales en voor verwarming van woningen. Door regulering in de landbouw wordt daar ook minder ammoniak uitgestoten.
Bron: Wikipedia
Leisten- oder Salzwasserkrokodile (Crocodylus porosus), gehören neben Nilkrokodilen zu den größten heute lebenden Krokodilen.
Männliche Leistenkrokodile erreichen meist eine Länge von 4,6–5,2 m, die Weibchen bleiben mit 3,1–3,4 m deutlich kleiner.
Sie leben hauptsächlich im küstennahen Brackwasser und dringen von dort oft weit in die Ozeane vor, so können sie schwimmend auch große Strecken zwischen Inseln überwinden und haben eine sehr große Verbreitung in Südostasien und dem nördlichen Australien. In den einmündenden Flüssen und den Sümpfen weiter im Inland sind sie oft sehr zahlreich und es gibt Berichte von annähernd 10m langen Tieren, jedoch keinen Beweis zu solchen Berichten.
Bei einem der Stuttgarter Krokodile handelt es sich um ein wunderschönes weitgehend amelanistisches Tier.
Actress Micaiah Dring at the Crying With Laughter photocall at the Mercure Point Penthouse, Edinburgh. 21st June 2009. Photograph: ©Valentina Bonizzi/EIFF Edinburgh International Film Festival 2009
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
shot dring the 11th Hot Air Balloon Festival at Clark, Pampanga. i believe this is my first photo to be featured in Nikon Stunning Gallery!! yipee!!! i'm so happy!!!
3FM Serious Request draait dit jaar om diarree. Jaarlijks overlijden er wereldwijd 800.000 kinderen aan de gevolgen van diarree en om dat aantal terug te dringen, zetten 3FM en het Rode Kruis zich van 18 t/m 24 december vanuit Leeuwarden in om zoveel mogelijk geld in te zamelen voor deze stille ramp. Details: www.3fm.nl
De Buurt 69
Het was vroeger dringen op de buurt als de bussen elkaar moesten passeren. Het lijkt er op dat de lijnbus van de Twee provincies richting Gorinchem onderweg is en dat er rechts een bus van Verschoorbstaat of net weg rijdt vanuit de garage. De auto vooraan staat bijna voor de café 3 Snoeken