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Hamish Friedlander talks about Developing Rich HTML applications with Silverstripe, Entwine and Backbone at WDCNZ 2012
Photo by WE DO Photography and Design wedo.net.nz
Yukon Transportation Museum
In the 1950s, LeTourneau Inc. developed several overland trains, essentially oversized semi-trailer trucks that could travel over almost any terrain. Their intention was to be able to handle logistics needs without being dependent on local road or rail systems, allowing them to operate in back-country areas. Following a demonstration of the VC-12 Tournatrain, the US Army had three experimental units built with an eye to the requirements of building the remote DEW line, starting with the TC-264 Sno-Buggy.
Impressed with the results of the Sno-Buggy, in late 1954 the Army Transportation Corps asked LeTourneau to combine the features of the Tournatrain and Sno-Buggy into a new vehicle. LeTourneau called the result the YS-1 Army Sno-Train but the Army knew it as the Logistics Cargo Carrier, or LCC-1. The LCC-1 combined the wheels of the Sno-Buggy with the power system of the Tournatrain to produce a 16x16 vehicle with one locomotive and three cars capable of handling a load of 45 tons in total. The control cab was itself articulated into two compartments; a heated driving compartment in front for the crew of three, and a rear section containing the 600-hp diesel engine, generators and fuel tanks. The cab also sported a powered crane on the rear.
In spite of starting the project before the VC-22, the LCC-1 required much more customization, and was not completed until January 1956. After testing at the factory, it was handed over to the Army in March, and continued testing in snow at the TRADCOM proving grounds in Houghton, Michigan. After acceptance, it was sent to Greenland, and then traveled around the north for some time, making its last cargo run in 1962.
The LCC-1 eventually ended up abandoned in a salvage yard right behind Fort Wainwright, Fairbanks, Alaska. Today, the LCC-1 now has a permanent site at the Yukon Transportation Museum in Whitehorse, Yukon.
My first self-processed roll - we'll all see tomorrow how good it turned out, I promise. I can't wait to start scanning, but I must - going out for the evening.
This book by Lars Finskud gives you an expert perspective on brand strategy and provides techniques for using branding to build a sustainable advantage over competitors.
Read more about the book by Lars Finskud and purchase it here: www.amazon.com/Competing-Choice-Developing-Winning-Strate...
Screen Shots
I often feel like there is a bit of fog over the transition from film to digital...
It's a Digital Darkroom... really
he developed a big bladder stone? that couldn't be removed any other way than chirurgical. so he had a surgery about two weeks ago-everything went well, he was a good boy-didn't bite or scratch the scar, had a course of antibiotics and painkiller and a week ago the vet said he's a picture of health YAY :D
Coyotes Came Out of the Desert, 1945
Matsusaburo George Hibi, born Japan 1886
died New York City 1947
Matsusaburo George Hibi was an American painter and printmaker, born in Japan. In addition to developing his own notable artistic practice, Hibi left a lasting impact through his efforts in organizing pre-WWII art associations in Northern California.
Hibi emigrated to the United States in 1906 as a young adult, initially studying English in Seattle, Washington. He moved to San Francisco, California shortly after, where he drew cartoons for Californian newspapers and Japanese publications. Hibi’s formal art education began in 1919 at the California School of the Arts, where he would remain for 11 years as a student, custodian, and staff member.
By the early 1920s, Hibi had emerged as a key figure among the Japanese and Asian American art communities based in Northern California. Hibi helped found the East West Art Society in 1921 and served as lead contact for organizing the group’s exhibition at the San Francisco Museum of Art in 1922, which featured works by himself, Chee Chin S. Cheung Lee, Tokio Ueyama, and his close friend Chiura Obata, among others. Hibi married Hisako Shimizu, a Japanese immigrant who also studied at the California School of the Arts, in 1930 and relocated to Hayward, California. While raising his two children and teaching at his Japanese language school for second-generation Japanese Americans, Hibi continued to produce and exhibit his artwork in numerous juried exhibitions throughout the Bay Area. In 1937, Hibi held his first solo exhibition comprised of 90 paintings at Hayward Union High School.
However, Hibi’s artistic career and life were uprooted by the events of World War II. After the attack on Pearl Harbor in 1941, Executive Order 9066 forced all Japanese Americans on the West Coast to move to incarceration camps beginning in 1942. Hibi and his family were initially sent to Tanforan Assembly Center, then Topaz War Relocation Center, where he played an instrumental role in organizing and running the art schools alongside Chiura Obata. Hibi continued to produce his own work as well, such as paintings and small woodblock prints that depict the camp’s barracks blanketed in snow. These works often feature his signature motif of coyotes or mountain lions, whose presence emanates a sense of anxiety and struggle for survival that pervaded the campgrounds. Despite the harsh physical and emotional climate of their incarceration, Hibi remained committed to arts, as evidenced by his writing: "I am now inside a barbed wire fence but still sticking to art–I seek no dirt of the earth, but the light in the star of the sky."
After their release from Tanforan in 1945, Hibi and his family moved to New York City, where he attempted to rekindle his artistic career. However, Hibi's health quickly deteriorated, and he died in 1947 from cancer. His widow Hisako, who later relocated to San Francisco, organized a posthumous solo exhibition of his work at the Lucien Labaudt Gallery in 1962.
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Experience America
The 1930s was a heady time for artists in America. Through President Franklin Roosevelt’s New Deal programs, the federal government paid them to paint and sculpt and urged them to look to the nation’s land and people for subjects. For the next decade — until World War II brought support to a halt — the country’s artists captured the beauty of the landscape, the industry of America’s working people, and a sense of community shared in towns large and small despite the Great Depression.
Many of the paintings in Experience America were created in 1934 for a pilot program designed to put artists to work; others were produced under the auspices of the WPA (Works Progress Administration), which followed. The thousands of paintings, sculptures, and murals placed in schools, post offices, and other public buildings stand as a testimony to the resilience of Americans during one of the most difficult periods in U.S. history. This display is drawn entirely from the Smithsonian American Art Museum's collection. SAAM holds the largest collection of New Deal art in the world.
americanart.si.edu/exhibitions/experience-america
During the Great Depression, president Franklin Delano Roosevelt promised a “new deal for the American people,” initiating government programs to foster economic recovery. Roosevelt’s pledge to help “the forgotten man” also embraced America’s artists. The Public Works of Art Project (PWAP) enlisted artists to capture “the American Scene” in works of art that would embellish public buildings across the country. Although it lasted less than one year, from December 1933 to June 1934, the PWAP provided employment for thousands of artists, giving them an important role in the country’s recovery. Their legacy, captured in more than fifteen thousand artworks, helped “the American Scene” become America seen.
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Observational Drawing of Chair, with developed background - inspired by the work of Vincent Van Gogh
A1 - Oil Pastels
about 80 miles southeast of me, near Kingston, NHY . It was just developing into a severe thunderstorm, before achieving supercell status, as shown in my next image
One of the points of basic vipashyana practice is developing what is known as the knowledge of egolessness. That is to say that the awareness that develops through the vipashyana experience brings nonexistence of yourself. And because you develop an understanding of the nonexistence of yourself, therefore you are freer to relate with the phenomenal world---the climate, atmosphere, or environment.
Unless thare is no basic center, one cannot develop the vipashyana experience. On the practical level, this means that vipashyana is experiencing a sense of the environment, a sense of space, as the meditator practices. This is called awareness as opposed to mindfulness. Mindfulness is very detailed and very direct, but awareness is something panoramic, open. Even in following the breathing techniques of mindfulness of breathing, you are aware not only of the breathing but also of the environment you have created around the breath.
As far as dealing with heavy-handed thoughts, emotions, is concerned, there is no way of destroying or getting over them unless you see the reference point that is with them. To begin with, seeing this takes the form of awareness of the atmosphere or environment. If you are already aware of the atmosphere beforehand, then there is a possibility that you might have a less intense relationship with your heavy-handed thoughts. That is one of the basic points.
Once you are aware of the atmosphere, you begin to realize that thoughts are no big deal. Thoughts can just be allowed to diffuse into the atmosphere. This kind of atmosphere that we are talking about is, in any case, an ongoing experience that happens to us in our lives. But sometimes we find we are so wrapped up in our little game, our little manipulation, that we miss the totality. That is why it is necessary for students to begin with shamatha (mindfulness)---so that they can see the details of such an eruption, such a manipulation, the details of the game that goes on. Then beyond that, having established some kind of relationship with that already, they begin to see the basic totality.
Thus vipashyana is understanding the whole thing. You might ask, "What is this whole thing?" Well, it's not particulary anything, really. This "whole thing" is the accommodator of all the activities that are taking place. It is the basic accommodation, which usually comes in the form of boredom, as far as the practitioner is concerned. The practitioner is looking for something to fill the gap, particularly in the sitting practice of vipashyana meditation, where the quality of nonhappening becomes very boring. Then you might get agitated by the boredom, which is the way of filling it up with some activities.
-- Chogyam Trungpa / the Path is the Goal, Pages 105-106 / Shambhala Publications