View allAll Photos Tagged Develop,
P9156698_699_700 - developed.jpg
Much better on black large:
Tone mapped HDR
If you have a good monitor with a very high resolution ( > 1600 or better 1980) you will see million of stars surrounding the moon..)
--------------------------
Theory of relativity and E = mc2
Main article: History of special relativity
Einstein's "Zur Elektrodynamik bewegter Körper" ("On the Electrodynamics of Moving Bodies") was received on 30 June 1905 and published 26 September of that same year. It reconciles Maxwell's equations for electricity and magnetism with the laws of mechanics, by introducing major changes to mechanics close to the speed of light. This later became known as Einstein's special theory of relativity.
Consequences of this include the time-space frame of a moving body slowing down and contracting (in the direction of motion) relative to the frame of the observer. This paper also argued that the idea of a luminiferous aether – one of the leading theoretical entities in physics at the time – was superfluous.[62]
In his paper on mass–energy equivalence Einstein produced E = mc2 from his special relativity equations.[63] Einstein's 1905 work on relativity remained controversial for many years, but was accepted by leading physicists, starting with Max Planck.[64][65]
Quelle: en.wikipedia.org/wiki/Albert_Einstein#Theory_of_relativit...
A developing Supercell across far Northeast Wisconsin on July 1 2017. Only isolated storms were expected, but this beast began to develop along an old outflow boundary from a storm early in the afternoon. Aiding in the development was a lake breeze boundary. The updraft was so explosive.
Ecovolis program has proven successful in dramatically increasing bicycle use in Tirana, which, formerly, was a city without a developed bicycle culture. Ecovolis program is the first project in Albania that provides low-income adults with commuter bicycles as well as a donating program for children bicycles. The program recently completed two major steps, opening new bike stations in the city of Durrës and integrating Tourist Information Point Service to the bicycles stations' structure.
History
The Tirana Community Bicycle Albania project won financial support from the George Soros Open Society Foundation Albania (OSFA). An even larger contribution came from the US-based Pedal for Progress organization, which donated 450 bicycles. Sixty of these were used road bikes, which were modified and painted by local technicians to serve as public bikes in the Ecovolis scheme. Another portion was set aside to donate to children and to activists and volunteers at PASS. Still another portion were diverted to the project's Eco Bicycle Shop, a social enterprise which sells bikes for USD 50-150 and reinvests profits for the service and maintenance of Ecovolis bicycles. The main objective of the program was to introduce the community to an inexpensive, environmental friendly form of transport -- the bicycle; to sell used bikes at low prices; to donate bikes to the children of needy families and to PASS volunteers; to establish a bike sharing-scheme in the city (Ecovolis); and to employ financially disadvantaged people and young students to operate the bike-sharing scheme.
System
Each Ecovolis station is staffed by two employees in two shifts and contains 30 -- 60 bicycles. In order to use the bicycles it is required to provide a personal identification document (such as passport or ID card) or by subscribing to the Ecovolis membership Card.
The first black and red bicycles, (also the colors of the Albanian flag) were donated from US-organization Pedal for Progress, (which collect and donate used bicycles). As these bicycles were of different types, converting them for safe and comfortable public use took months of work. The price per bicycle varies from 60 US$ to 90 US$ each. The bicycle is equipped with a front bicycle basket, a behind carrier, a comfortable saddle and a public fender with the Ecovolis sign.
The bicycle stations also provide touristic information to the visitors and a list of the city attractions. Moreover, being a non-profit social enterprise, during particular days the program offers free bicycle service, cycling courses, donations of bicycles and helmets for children in need, bike tours and a bicycle recycle program.
Who are you and who am I
To say we know the reason why?
Bronica ETRSi
75mm
Ilford Delta 100
Developed in Xtol
I developed this film using QWD ECN-2 chemistry. It's a long story about a gift of 4 Silbersalz rolls that should have included developing and scanning back in Stuttgart. Instead, the film took a round trip from New York to Frankfurt, getting stuck in German customs for months with indifferent support from Silbersalz. So upon their return to me, I developed and scanned them myself. QWD makes a great product for home development of Vision3.
Item Number: 09385-39.
Document Title: Camden Shore Development/ Camden, Maine/ Preliminary Sketch/; Scale 1"= 20' [r].
Project: 09385; Camden Shore Develop.; Camden; ME; 01 Parks, Parkways & Recreation Areas; 35.
Artist/Creator: OLMSTED BROTHERS LANDSCAPE ARCHITECTS (OBLA).
Location: Olmsted National Historic Site, Brookline, MA.
Category: PLAN.
Purpose: PREL (Preliminary).
Physical Characteristics: [Dimensions]23 1/2" x 40"; [Medium]graphite; [Support]trace.
Dates: 26-NOV-1951 [r].
Notes: Revised 30-NOV-1951 [r], Public Building Removed 26-MAR-1952 [r], Revised 17-APR-1952 , Sections A,B,C,d with Scale 1,2"= 1' [r], Park & Parking, Boardwalk, etc. [r].
.
Please Credit: Courtesy of the United States Department of the Interior, National Park Service, Frederick Law Olmsted National Historic Site..
All the things I ordered to be able to develop black and white film came in today (February 10th, 2010). Pictured here is the Kodak D-76 developer and Kodak fixer, along with a Patterson Universal tank and a good thermometer. I also got some Ilford Ilfostop stopbath and Kodak Photo-Flo 200 for the other steps. Also, I got some Ilford ID-11 and Ilford fixer so I could try them out and compare the results with the Kodak chemicals. While I was at it, I also added in a generous selection of black and white films, 100 and 400 ISO, in 135 and 120 sizes. Since the Patterson tank can develop both, I have everything I need now.
It's been almost 30 years since I last developed film and I'm anxious to get my hands back into the process. As of midnight, I had my first roll of Fomapan Classic black and white film developed and hanging to dry. Can't wait to scan the negatives and post them here on Flickr.
3903ef
Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Leica M3 and Leitz 50mm f/2 Summicron (Collapsible)
Fujifilm Neopan 1600 developed @ 3200 in Xtol (1:1)
Developing Models for Cooperative Security
General Tea Banh, Deputy Prime Minister; Minister of National Defense, Cambodia
Richard Marles, Deputy Prime Minister; Minister for Defence, Australia
Dr Ng Eng Hen, Minister for Defence, Singapore
While developing a propulsion system for long-distance interplanetary space travel missions, I have recently designed and built a unique Plasma Propulsion Pentagram (PPP) engine.
By generating thrust from a quasi-neutral plasma, coupled with my exclusive Pentagram design, this thruster has a big advantage over proposed deep space ion-thruster propulsion.
My PPP type of thruster can operate on a huge range of propellants, from argon to carbon dioxide and air mixtures to astronaut urine.
Yes, female astronaut urine can be used as a quasi-neutral plasma that should keep us traveling along in deep space forever.
SIGMA sd Quattro + 24-70mm F2.8 DG OS HSM A017
Developed by SIGMA Photo Pro 6.6.1
【第7回シグブラフォトウォークin奈良】
Developed as a follow-on to the F-86 Sabre used in the Korean War, the F-100 was the world's first production airplane capable of flying faster than the speed of sound in level flight (760 mph). The prototype -- the YF-100A -- made its first flight on May 25, 1953, at Edwards Air Force Base, Calif. Of the 2,294 F-100s built before production ended in 1959, 1,274 were Ds, more than all the other series combined. The D model, which made its first flight on Jan. 24, 1956, was the most advanced production version. Its features included the first autopilot designed for a supersonic jet and a low-altitude bombing system. The Super Sabre had its combat debut in Vietnam where it was used extensively as a fighter-bomber in ground-support missions such as attacking bridges, road junctions and troop concentrations.
The aircraft on display was used by the Thunderbirds, the official USAF Flight Demonstration Team, from 1964 until 1968. During that period, the team toured the Caribbean, Europe, Latin America and nearly every state in the United States.
This F-100D was retired from service with the 114th Tactical Fighter Group, South Dakota Air National Guard, in 1977. It was restored by Thunderbird maintenance personnel at Nellis Air Force Base, Nev., to its original appearance as a team aircraft. It was flown to the museum by the Air National Guard, and the Thunderbirds presented the aircraft to the museum on July 22, 1977.
SPECIFICATIONS:
Span: 38 ft. 10 in.
Length: 54 ft. 2 in.
Height: 16 ft. 2 in.
Weight: 38,048 lbs. loaded
Armament: Four M-39 20mm cannons, two GAM-83A Bulldog missiles, four GAR-8 sidewinder missiles, rockets, special stores and/or a maximum of 7040 lbs. of bombs.
Engine: Pratt & Whitney J57-P-21 (or -P-21A) of 16,000 lbs. thrust with afterburner
Cost: $704,000
Flamenco, in its strictest sense, is an art form based on the various folkloric music traditions of southern Spain, developed within the gitano subculture of the region of Andalusia, but also having a historical presence in Extremadura and Murcia. In a wider sense, it is a portmanteau term used to refer to a variety of both contemporary and traditional musical styles typical of southern Spain. Flamenco is closely associated to the gitanos of the Romani ethnicity who have contributed significantly to its origination and professionalization. However, its style is uniquely Andalusian and flamenco artists have historically included Spaniards of both gitano and non-gitano heritage.
The oldest record of flamenco music dates to 1774 in the book Las Cartas Marruecas by José Cadalso. The development of flamenco over the past two centuries is well documented: "the theatre movement of sainetes (one-act plays) and tonadillas, popular song books and song sheets, customs, studies of dances, and toques, perfection, newspapers, graphic documents in paintings and engravings. ... in continuous evolution together with rhythm, the poetic stanzas, and the ambiance.”
On 16 November 2010, UNESCO declared flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity.
Discover all the eMotion dance videos: www.youtube.com/watch?v=h3GjzzIFQHc&list=PLpNOq2dpOWy...
💡HOW ? 🔽
📋 (VIDEO ORIGINAL: youtu.be/PQgedLm66gk)
ℹ️ This Video is Creative Common (Dance) [creativecommons.org/licenses/by/3.0/legalcode]
♾️ The links :
- For Music (🎵) = COPY & PASTE [---]
- For Video (🎥) = COPY & PASTE [~~~]
- For Music & Video (🎵) & (🎥) = COPY & PASTE [---] & [~~~]
ℹ️ Colorimetric and contrast changes, as well as logo additions were made on the original video.
✔️ DOWNLOAD: www.dropbox.com/sh/t7tojasjfmmz93g/AABdEYz3F5A9NOi0n_mjNb...
--- 🎵 MUSIC & DANCE
👸 Mision Flamenca
📌 Website: www.misionflamenca.com
---
~~~ 🎥 VIDEO
San Francisco Public Library
📌 Youtube: www.youtube.com/user/SanFranciscoLibrary
📌 Flickr: www.flickr.com/photos/sfplsanfranciscohistoricalphotograp...
📌 Facebook: www.facebook.com/sfpl.org
📌 Pinterest: www.pinterest.com/sfpubliclibrary
📌 Twitter: twitter.com/SFPublicLibrary
📌 Website: sfpl.org/about-us/blogs
~~~
💃 Dance promoted by eMotion :
📼Video Link: youtu.be/nsQe6wy3Vx4
📋WHAT ? 🔽
🌟 Spanish Folk Dance - Flamenco (Mision Flamenca) [White Dress]
💫 Dance/Spanish Music/Spanish Dance/European Music/European Folk/Flamenco Dance World
🌌Creative Common Dance
✨Dance & Music Universe (💃)(🎵) 💃 Dance (Creative Common) 🎵 Music 🎤 Sing
📝Type : 🇪🇸 Spanish Dance ⭐ European Dance 🍅 Mediterranean Dance 😃 eMotion Happy 💃 Flamenco 🇪🇸 Spanish Music 🌐 World Music ⭐ European Music 🍅 Mediterranean Music Dance 🎸 Acoustic 🎎 Folk
🎺 Musical Instruments : 🎸 Acoustic Guitar Percussion
🔊Language : 🇪🇸 Español (🇬🇧 Description in English)
WHO ? 🔽
🎵 Music by Mision Flamenca
📡 Posted by San Francisco Public Library
📡 Reposted by Laurent Guidali
🌅 Thumbnail by Laurent Guidali
️ Video by San Francisco Public Library
💃 Dance by Mision Flamenca
📍WHERE ? 🔽
🇪🇸 Spain [Music]
🇺🇸 USA (San Francisco) [Video]
🇫🇷 France [eMotion Video]
🇺🇸 USA (San Francisco) [Location]
🇪🇸 Spain [Dance]
🕓WHEN ? 🔽
🎆 ? [Music]
🎆 2020 [Video]
💌 Contact : emotionetoilecontact@gmail.com
🔖 React with official Hashtags :
#Etoile
#ETL
#eMotion
Date: 1938-1939
Current location: Wolfsburg, Germany
Description of work: In 1930 Ferdinand Porsche founded an automobile design company named Porsche Buro and began developing a design for a small, two-door car. In 1933 Porsche met with Adolf Hitler, who was pushing for the production of a car that could carry five passengers, reach 62 mph, get 33 mpg, and cost 1000 Reichmarks. The design that would become the VW38 was developed from 1933-1939, and factory construction began in 1938. When the VW38 went into limited production, Hitler unilaterally changed its name to the "KdF Wagon", for "Kraft durch Freude" ("strength through joy"). Porsche, who was not a member of the Nazi party, greatly resented this use of his design for propagandistic purposes. Only a few thousand KdF prototypes were built, because as soon as World War II began in 1939 the factory converted to mass-produce the Type 82 "Kubelwagon, " an adapted KdF that was the German military's equivalent of the Jeep. The factory was heavily damaged by Allied bombing, and fell under British administration at the end of the war. The British Army brought it back online in 1945 and began producing cars for their own military use out of leftover parts still in inventory. The UK actively assisted in the factory's reconstruction and by 1946 it had produced over 10, 000 cars. The British renamed the company "Volkswagen" and the factory town "Wolfsburg" after a nearby castle. By 1949 factory control was returned to the West German government, and the VW Beetle became one of the new country's most successful export products and a major component of its economic recovery. (http://www.volkswagenspares.com/page.php?page=history)
Style of work: Modern; Engineering
Culture: German
Materials/Techniques: masonry
Source: Copyright Gary Catchen; Photographer: Gary Catchen (2005)
Resource type: image
File format: jpeg
Image size: 2250 x 2822 pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2006-804 Volkswagen Factory.jpg
Record ID: WB2006-804
Sub collection: industrial buildings
Pentax Epsio Mini
fun with some expired ferrania solaris 100
self developed in rolleichem c41 kit
epson v700
These are from my first self-developed film, an agfa apx 100. Taken with my Zenit ET, Helios 44-3 lens.
self developed with caffenol C,
colored film developed with coffee in black and white.
solaris 100 asa (exp. 2008) / cosina hi lite drl
We got back to my daughter's neighborhood around dinner time, so we grabbed her guy and went out to a nearby restaurant located in an old railroad roundhouse at the base of this hill. The roundhouse had been built in 1887 and remodeled into restaurants and shops in 2009, and its proximity to the smoke stack you see here behind the fancy new townhouses suggests the trains in the roundhouse hauled a lot of gold.
I mentioned that smokestack in the first picture I posted of this neighborhood. This stack is the last remaining piece of the Golden Cycle Mill, a processing mill that separated gold from the raw ore the prospectors mined up in places like Red Mountain and Silverton. The mill opened in 1905, and according to the internet, it processed about 40% of all the gold that ever came out of Colorado. That works out to about 240 US tons of pure gold extracted over the mill's 43 years of operation, which doesn't sound like much, but they had to run through about 20 million tons of raw ore to get it.
Now the stack anchors a quick-build housing development. They're going to build an amphitheater at is base.
Side Note: People tend to overestimate the amount of gold that exists in the world, anyway. All the gold ever mined in all the history of the world adds up to about 216,000 tons of gold. Melt all that gold into a single cube, and it would be 73 feet on a side. That's really not very much gold at all.
Developed under the super-secret "Corona" project, the golden "bucket" reentry capsule of the Discoverer spy satellite system carried film reels back to earth in the 1960s. The primary recovery mode was by aircraft that snagged the descending parachutes and reeled in the capsules. If the air snatch failed, divers attempted to recover the vehicle on the water, before a "salt plug" dissolved and sank it, to keep it out of Soviet hands.
Christopher Ansley has been developing the Starr Pass area since 1992, when his company, Signature Properties International, bought the original 1,000-acre site for around $15.5 million. The Toronto native got the city of Tucson to rename 22nd Street west of Interstate 10 as Starr Pass Boulevard - named for Richard Starr, who ran a stagecoach line through the property in the 1800s.
Built in 1986, the Starr Pass Golf Club sits on Sonoran Desert terrain and traverses canyon, ravines and desert washes. It played host to the PGA tour's Tucson Open from 1986 to 1996.
In 2005 Ansley opened the massive Jw Marriott Starr Pass Resort & Spa. The resort property includes 575 rooms, a 20,000-square-foot spa, an additional 9-hole Arnold Palmer-designed golf course, three swimming pools, lazy river, a water slide and 88,000 square feet of meeting space.
In 2011, Christopher Ansley's Starr Pass Resort Development defaulted on a $145 million loan recorded in August 2006. On Oct. 12, 2011 the lender U.S. Bank National Association notified Christopher Ansley of plans to initiate the foreclosure process. There was also a $20 million mezzanine loan from RFC CDO 2006-1 Ltd. Several public auctions of the resort have been canceled. The resort continues to operate under a court appointed receiver.
John Adams was the opening general manager of the JW Marriott Starr Pass Resort & Spa. Adams is now Marriott's SVP, Global Operations Services. Alex Ahluwalia was the general manager from February 2007 – October 2013. He is currently the General Manager at The Ritz-Carlton, Kapalua. Alex Ahluwalia graduated from the University of Wisconsin with a Bachelor of Science in Hotel and Restaurant Management. Russ Bond is the current general manager. He previously served as the General Manager at the the Renaissance Vinoy in St. Petersburg, for 14 years.
Three design competition finalists will present their ideas on stage in front of jury for their chance to win $35,000 to develop their winning concept. In Games for Change’s first‐ever public design competition, finalists compete to create a prototype of a safe sex awareness game. The game will be developed for and in collaboration with Answer, a progressive, tech‐savvy organization that has more than 30 years experience providing and promoting sexual awareness to young people.
As part of the Competition, three finalists will present their ideas on stage in front of a jury. The winning concept will then be announced at the festival in front of a live audience.