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All the DL TIF files from the CD of Dave's Nullarbor Caves & Geol 1962-68 filed in the CD drawer.
Several were edited and loaded years ago..
We shared film during the GSWA mapping expedition dring 1965.
(from left) general manager Allan Naplan, soprano Turid Karlsen, conductor John DeMain, and WPR music director Cheryl Dring.
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.
Kom hurtigere til den rette ting du skal bruge på din hobby.
Hvis du bladre i billederne, kan de se hvor mange forskellige materialer vi har til knivbygning og andre hobbies.
Kig ned i butikken i Holte - eller shop i den nemme webshop....
www.thegoodstuffshop.dk/group.asp?group=8
**
god fornøjelse
. . . kniv-per . . . ... FIL ...
it was a tour trip to the beautiful city of Sydney,
The air are clear and fresh,we visited many wonderful place, and did have a good
Time during our vocation
Door Marc van Haag, Waarde
Kinderen dringen om een plekje voor de camera van Omroep Zeeland te krijgen.
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.
used instructions from thelongestyear.typepad.com/my_weblog/2006/06/easy_belt_tu.... modified length and width to fit my non-toddler children.
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.
Chiara ordered my butchery nurse halter top on Ebay and what a surprise! She sent me photos!
This is one of the several images she sent.
I'm happy to see how perfectly the top fits.
whenever I fill the birdbath, the wasps are always first on the scene. it seems like their favorite part is when I dump out yesterday's water.
it was a tour trip to the beautiful city of Sydney,
The air are clear and fresh,we visited many wonderful place, and did have a good
Time during our vocation
Der Trägerkreis des Bündnisses „Reichtum umverteilen – ein gerechtes Land für alle!“ veranstaltet am Freitag, den 15.09. vor dem Deutschen Bundestag eine Aktion. Unter dem Motto „Wir fangen schon mal an: Superheld*innen verteilen um!“, sind alle Superheld*innen in Berlin und Umgebung um 12:30 Uhr vor den Deutschen Bundestag eingeladen, um von dort symbolisch das Geld dahin umzuverteilen, wo es dringen benötigt wird – in die Kitas, Krankenhäuser, Jugendeinrichtungen, Schulen, bezahlbaren Wohnraum, für ein ökologisches Verkehrssystem... und vieles mehr.
Kom hurtigere til den rette ting du skal bruge på din hobby.
Hvis du bladre i billederne, kan de se hvor mange forskellige materialer vi har til knivbygning og andre hobbies.
Kig ned i butikken i Holte - eller shop i den nemme webshop....
www.thegoodstuffshop.dk/group.asp?group=8
**
god fornøjelse
. . . kniv-per . . . ... FIL ...
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.
it was a tour trip to the beautiful city of Sydney,
The air are clear and fresh,we visited many wonderful place, and did have a good
Time during our vocation
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.
Na het vuurwerk is het altijd dringen voor de brug, aan beide kanten. Hier de drukte aan de kant van Gaia vóór mij, met René ongeveer in het midden
Kom hurtigere til den rette ting du skal bruge på din hobby.
Hvis du bladre i billederne, kan de se hvor mange forskellige materialer vi har til knivbygning og andre hobbies.
Kig ned i butikken i Holte - eller shop i den nemme webshop....
www.thegoodstuffshop.dk/group.asp?group=8
**
god fornøjelse
. . . kniv-per . . . ... FIL ...
Kom hurtigere til den rette ting du skal bruge på din hobby.
Hvis du bladre i billederne, kan de se hvor mange forskellige materialer vi har til knivbygning og andre hobbies.
Kig ned i butikken i Holte - eller shop i den nemme webshop....
www.thegoodstuffshop.dk/group.asp?group=8
**
god fornøjelse
. . . kniv-per . . . ... FIL ...
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
Kom hurtigere til den rette ting du skal bruge på din hobby.
Hvis du bladre i billederne, kan de se hvor mange forskellige materialer vi har til knivbygning og andre hobbies.
Kig ned i butikken i Holte - eller shop i den nemme webshop....
www.thegoodstuffshop.dk/group.asp?group=8
**
god fornøjelse
. . . kniv-per . . . ... FIL ...
Evi Chantzi in conversation with Berlin based architects Allison Dring and Daniel Schwaag of Elegant Embellishments: Biomimicry in Architecture
KAM WORKSHOPS 2015
ARTIFICIAL NATURES
Chania, 18.8.2014
Scuola San Lino. Classe _ Elementare.
Soggetti: prof.ssa Ariella Nesi Del Colombo. _ (la Lula), _ (il Dringhe), _ (il Ciacche), Giulio Isolani, Saverio Sederini, Eugenio _ (Gengi), _ Mariottini
Archivio: Gianna Bertini
Autore: ---
Data: ---
datum: 01 januari 2004
auteur: onbekend
tekst: Swingen en Dringen deel XVII vanaf 00.30 in café Mets Grotestraat 7 Nijmegen. Lees meer over café Mets.
formaat (bxh): 30 x 42 cm
druk: offset
digitalisering: Fotografica Nijmegen voor LANijmegen.
Creative Commons: Auteursvermelding [indien bekend] en/of bronvermelding [LANijmegen] verplicht. Commercieel gebruik ALTIJD in overleg. Je mag dit bestand alleen doorgeven in de oorspronkelijke vorm. Neem bij twijfel contact op.
Creative Commons: Attribution mandatory. Also take into account portrait rights. Modifying this work is NOT allowed. No commercial use. If in doubt, please contact.
********
Heb je iets op te merken over dit bestand of de beschrijving? Schrijf hier je commentaar of mail rrn@regenboogroutes.nl o.v.v. de bestandsnaam. Je bijdrage wordt zeer op prijs gesteld.
Deze professionele scan wordt je aangeboden door LANijmegen. Graag gedaan. Vind jij het belangrijk dat de [Nijmeegse] vrouwen- en regenbooggeschiedenis bewaard blijft en zonder betaalmuur online staat? Steun LANijmegen word Vriendin [M t/m V]!
Upgrade your monkey bars or overhead climber with age appropriate accessories like the trackline and d-rings. I think there might be a little monkey in all of us.
100% California Redwood
backyardfunfactory.com/wooden-swing-sets/
For more information
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.