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Taken in the Georgetown neighborhood of Seattle
Pentax PC550 28mm
Kodak Portra 400VC
Lab C41
Epson 4490
August 2010
taken with a Minolta Panorama Zoom 28 on Fuji C200 film, home developed in Tetenal C41 chemistry
ZoomCharts at DevClub.lv: Developing a Javascript SDK
On January 15, 2015, ZoomCharts Co-Founder and CTO Viesturs Zariņš presented at DevClub.lv - a community of Latvian IT specialists that gather monthly and host free talks, presentations, and events to allow the local IT community to share knowledge, network, and communicate. Zariņš discussed the unique challenges faced in developing JavaScript SDK.
Here is a brief overview of his PowerPoint presentation on ZoomCharts, the world’s most interactive data visualization software that will support all your data presentation needs with incredible speed.
What is ZoomCharts?
What defines ZoomCharts advanced data visualization software? It is NOT another HTML5 charts library. It is:
- Interactive
- Fast
- Touch enabled
- Supports big data
A long time ago
DOS 6.2 allowed for:
- 320x240x8bpp
- Direct access to pixels on screen
- Assembler for performance
Today, the Web has finally caught up in the graphics department. Now, we have access to:
- Multiple browsers and rendering technologies
- Multiple resolutions
- Performance that varies by browser and device
Development setup:
- We write in JavaScript
- Commit to GitHub
- Build system in JavaScript
- Debug in Chrome
- Run automated tests
- Like WebStorm (and Vim)
Graphics:
Canvas (fast)
SVG (slow)
WebGL (>50%)
Interactive animations:
Zoom in and out of the graph, drag and drop data, all with your mouse or trackpad.
Graceful degradation:
High FPS (frames per second) lets you scale graphics with low image degradation.
Third party libraries:
- Raphael
- Hammer.js
- Leaflet
- Moment.js
Challenges:
- Responsive design: layouts can shift and look nice on desktop screens vs. not so nice on vertical, mobile screens
- Big screen resolutions: uses devicePixelRatio for sharp rendering, but no hardware acceleration beyond 2048x2048
- Safari compatibility: with 100% CPU, input events are blocked and browser locks up; strange code offers fixes
- HTML on canvas: DOM is slow; basic HTML markup must be parsed and rendered manually; text caching helps
Support:
- Process: TrialSupportBuy
- 1 day issue resolution
- #1 Tell me what I did wrong
- #2 Can you do…
Testing:
- Automated tests on every GIT push
Automatically:
- Compare images
- Record performance
- View errors in console
Interactive testing:
- Next step: record and playback
BrowserStack:
- Interactive mode
- Automated: Selenium API
Debugging:
Chrome Developer tools (F12)
- Debugging
- Profiling
- Timeline
Remote debugging available: developer.chrome.com/devtools/docs/remote-debugging
Future:
- More charts
- Extension API
- Memory allocation tracking
- WebGL
We are looking for statically-typed language:
- Error checking
- Performance
- Superior minification
- Easy to write and read
- Easy to call from JS
Building
Custom build script:
- Compile
- Minify
- Extract documentation
- Embed customer data
Check out ZoomCharts products:
Network Chart
Big network exploration
Explore linked data sets. Highlight relevant data with dynamic filters and visual styles. Incremental data loading. Exploration with focus nodes.
Time Chart
Time navigation and exploration tool
Browse activity logs, select time ranges. Multiple data series and value axes. Switch between time units.
Pie Chart
Amazingly intuitive hierarchical data exploration
Get quick overview of your data and drill down when necessary. All in a single easy to use chart.
Facet Chart
Scrollable bar chart with drill-down
Compare values side by side and provide easy access to the long tail.
ZoomCharts
The world’s most interactive data visualization software
#zoomcharts #interactive #data #interactivedata #datavisualization #interactivedatavisualization #chart #graph #charts #graphs #Javascript #JavascriptSDK #DevClubIV #Latvia #PowerPoint #PowerPointpresentation #fast #bigdata
Students and young professionals discuss their projects during the 2023 DEVELOP Day, Wednesday, Aug. 9, 2023, at the Mary W. Jackson NASA Headquarters building in Washington. Every summer students and young professionals from NASA’s Applied Sciences’ DEVELOP National Program come to NASA Headquarters to present their research. This year marks the 25th year of DEVELOP, a training and development program where students work on Earth science research projects, mentored by science advisors from NASA and partner agencies, and extend research results to local communities. Photo Credit: (NASA/Joel Kowsky)
The last few times I have developed Sahnaghai GP3 film in Rodinal 1:200 stand development for 2 hours, I have noticed a recurring problem.
You can see in the top right hand corners of the image, the blotches that are throughout the image.
Perhaps not enough developer is getting to the film throughout the stand development process?
I thought my Fixer may be exhausted but I have developed other films without this problem.
This problem seems to be consistent with the Shanghai GP3 .... Any thoughts on why this may be happening ?????
Hasseblad + 80 mm + Shanghai GP3 + Rodinal 1:200 Stand Developed @ 2hours
Zorki-6
Industar-61 2.8/52mm
Fomapan 100
Developed in HC-110, dilution H, 11min 30 sec@20C. 1st attempt with the Fomapan 100 film
Andrés Rodriguez, Agricultural Attaché at the Embassy of Chile, delivers closing remarks during the 2023 DEVELOP Day, Wednesday, Aug. 9, 2023, at the Mary W. Jackson NASA Headquarters building in Washington. Every summer students and young professionals from NASA’s Applied Sciences’ DEVELOP National Program come to NASA Headquarters to present their research. This year marks the 25th year of DEVELOP, a training and development program where students work on Earth science research projects, mentored by science advisors from NASA and partner agencies, and extend research results to local communities. Photo Credit: (NASA/Joel Kowsky)
15 Bury St Edmunds Hardwick Lane And Westgate Street Minolta Dynax 7000i Minolta 35-105mm F3.5-4.5 Kodak Gold 200 ISO Developed In Rollei Colorchem C41 30-1-2023
A local Afghan offers a French soldier tea in eastern Afghanistan. (Photo Courtesy of Task Force Lafayette/French)
Together with Karel and neighbor boy Afra we made a new board game and tested it - the boys' sisters played along, too. Most of the rules were my idea, but they're subject to change as we test the game.
Everybody rolls 2 dice at every turn. One special die (made with the Lego die) and one regular one.
The special die has the following sides:
CLOSE - close the gates on the board
OPEN - open the gates
MONEY - get a chip
PURPLE - pay a chip
The regular die is for walking, of course. The figures can pick their route on crossings, but cannot go backwards.
Every player gets a 4x10 plate to put the chips (round 2x2 tiles) on; objective of the game is to collect 10 chips so that the plate is full.
There are the following special fields:
- White jumper plate = sing a song and earn a chip
- Brown jumper plate = do a dance and earn a chip
- Red jumper plate = make a drawing and earn a chip
- Tan jumpuer plate = go two steps forward and earn a chip
- Field with a gold or silver ball = earn a chip and put the ball in the bucket. When the fourth ball goes in the buckets, all balls come back in the game at random
- Golden gate: must be open to pass. Earn a chip
- Start gate: must be open to pass
- 'Hit the wall': if you land on the field adjacent to the outer wall with the castle windows, you skip two turns
- Shelter: skip one turn
- Stop sign: skip one turn
- Arrow tile: roll again
- Field with soccer ball: go to the field before the golden gate and put the soccer ball somewhere else
- Antenna: go to the field before the golden gate
Things that need to change:
- Maybe the routing isn't clear enough. Madelief insisted on turning left where she couldn't (hence the pout), maybe I should add an arrow sign. (The way she went about, she'd skip the bit with the gate)
- I designed the game with just one OPEN and two CLOSE sides on the special die, but kids are waiting behind closed gates too much.
- That START gate was annoying. Everybody was waiting for the gate to open and got fed up. It should go.
-Reaching 10 chips may take too long. Maybe I should use smaller plates or let the game end when the first player reaches the slide.
Massimo Vitali - 3428
Drum scan from 8"x10" color negative.
Film: Kodak Portra 160 NC
Camera: Phillips 8"x10"
Scansione a tamburo da negativo 20x25 cm
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CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
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CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
Kodak Tri-x iso 400
Developed in Ilford ID-11/ 8 minutes
Kodak Scanner
The bridge itself was constructed in the late ’60s/early ’70s by New Jersey Bell so they could run telephone poles across the swamp. They left it standing after the work was completed. In its day, the bridge was a popular spot for crabbing. At one time you were able to drive to the top of the bridge and park, but you could never actually cross it because you could easily get stuck in the swampy marsh on the other side. The bridge has been vandalized and actually set on fire a couple of times (hence, half a bridge) It is only a matter of time before the township decides to tear it down.
Success of the LA Conservation Corps’ Paddle the LA River program is well documented. One of the program tenets is access to the river. To answer that call, program partner the Mountains Recreation and Conservation Authority developed ‘River Access for All,’ which offers kayak outings on rafts that can accommodate challenged children and adults and those with limited mobility.
“We wanted the boating experience to not be limited to a select group of people who can pay to paddle the Los Angeles River so we also required groups to submit a plan on community involvement and outreach,” said Lisa Sandoval, District realty specialist.
The program was booked solid as soon as it was announced and openings are rare, but with little more than a week before the final trip of the season, MRCA had a vacancy. After consulting with another program partner, Friends of the LA River, a call was made to the U.S. Army Corps of Engineers Los Angeles District.
“When the call came in from FoLAR that space was suddenly available in the MRCA program, one group came to mind,” said Jennie Ayala District outreach Coordinator and STEM program manager. “I remembered the passion of Tova and Sterling Barbour of the Veterans Advocacy Group of America. They’d contacted me for USACE support on an educational program they offer to veterans’ children.”
VAGA also reached out through veteran channels and in keeping with tradition, were able to fully book the opportunity for a group of veterans.
“One thing that we like to do is to give back, to see our veterans out here; the smile on their faces just means so much,” said Sterling. “Next year we are definitely going to do this again for our veterans, because it is so wonderful.”
These veterans were fairly ambulatory, although many still showed physical signs of their injuries, making them perfect candidates for the new program.
“With our inflatable rafts we’re able to accommodate various disabilities, we’ve had a variety of organizations come out,” said Fernando Gomez, Chief Ranger of the MRCA. “Today, VAGA was able to participate; one individual was blind and we had our first service dog. Because the KaBoat platform is so stable and if they aren’t able to paddle, they can leave it to the rangers.”
As a fully committed partner to the city’s Los Angeles River Revitalization Master Plan, the District’s own work on river ecosystem restoration plans to restore natural habitat where appropriate, improve water quality and enhance recreational benefits, all while maintaining its primary mission of flood damage reduction.
See how we developed the best courtyard landscape in all of Korea within one year! I combined three clips of how the landscape looked.
In the beginning of 2016, the Wolmyeongdong Recreation Center started carving the cliff. I took the first clip while standing on the path they made. At that time, one of the offices was in front of the mountain. You can see all of that in the first video.
A few months later, they completely torn down the office in front of the mountain. It looks a bit surreal. If you visited Wolmyeongdong after this, you would have never guessed there was an office originally! The only way you can tell is because the bronze Jesus statue was left intact.
However, a year later, they finished developing the courtyard landscape. The courtyard space itself didn't change much. Is was mainly the mountain that changed. If you look closely, there is a groove in the mountain that we turned into the waterfall.
For the bronze Jesus statue, we moved it into the sports field. You can find it in front of Prayer Hill at the base of the mountain. It is at the entrance of the steps going up the hill.
As for the office, everyone moved into the offices across from the old offices. The place we moved to was actually a souvenir store. But we moved the store into the Culture Center.
So even within one year, Wolmyeongdong has changed so much! If you want to see more of these types of videos, please let me know! I will try to include more before and after videos. It's kind of hard to get resources. I happened to have this one, so I put it together.
If you have any videos you'd like me to compile of Wolmyeongdong, please send it!
==Follow Wolmyeongdong==
Website: www.wolmyeongdong.org
Facebook: www.facebook.com/EnWolmyeongdong/
Twitter: twitter.com/enwolmyeongdong
G+: plus.google.com/u/0/117988099616897484250?hl=en
Instagram: www.instagram.com/natural.temple/
Tumblr: wolmyeongdong.tumblr.com/
перегон Гатчина Товарная Балтийская - Войсковицы. Ивангородское направление, Санкт-Петербург-Витебское отделение Октябрьской ж/д
VL10 3 kV DC two-section electric locomotive was designed in parallel with VL80 25 kV 50 Hz AC electric locomotive. The technical project of new two-section DC electric locomotive VL10 (ВЛ10; Т8) was developed by the special design bureau of the Tbilisi Electric Locomotive Plant (TEVZ) in Soviet Georgia under the direction of chief engineer G. I. Chirikadze by 1960. Even though the locomotive was initially named after design bureau of TEVZ - T10 it was later renamed in Soviet tradition but for the last time after the Bolshevik leader - Vladimir Lenin. VL80 AC electric locomotives were built by Novocherkassk Electric Locomotive Plant (NEVZ) according to the projects developed by the VELNII in Novocherkassk, Russia to 1961. Unified bogies of VL10 and VL80 locomotives were designed and built by NEVZ. Both took innovative 2-axle bogies with french-type wheelset's suspension by two diagonal link arms supported by the axlebox based on original ALSTOM design. The principle of suspension were taken from the French-built F series of Co-Co electric locomotive (Фк) built specially for the Soviet Railways and was firstly used in VL60 AC electric locomotive with 3-axle bogies developed by NEVZ. Traction motors TL-2 (ТЛ-2) with capacity of 650 kW (in hourly mode) each, have a support-axis suspension. Motor's frame, bearing plate, armature shaft, small gear, brush apparatus were made unified with motor НБ-412М of VL60 electric locomotive. VL10 locomotives were built from 1961 to 2005 by the Novocherkassk Electric Locomotive Plant in Russia and Tbilisi Electric Locomotive Works (TEVZ) in Soviet Georgia with total production 2900 ones. VL10U (ВЛ10У) was the last modification also designed by Tbilisi Electric Locomotive Plant - the locomotive were additionally weighted - the rail load increased from 23 to 25 t so the wheels have greater traction force, and be able to carry heavier trains. Mechanically, VL10U was unified with NEVZ-built AC electric locomotives VL80T, VL80S, VL80R. Two bogie traction rods were installed of two sides of doubled hydraulic damper located in center of bogie. The body, cabin, pneumatic and main equipment were unified with VL10, VL11, VL11M DC electric locomotives. Totally 979 electric locomotives VL10U were built.
2ЭС4К (2ES4K) is a 3 kV D.C. electric locomotive the Donchak composed of 2 units was produced by Novocherkassk Electric Locomotive Plant (NEVZ) at 2006-2018 yy. The 3-unit 3ЭС4К model having one booster B-unit in production from 2014. They are the successors of VL10 (VL11) family, the mass-produced DC electric locomotives built in Soviet Georgia by TEVZ and in Russia at NEVZ. In most mechanical parts they are unified with the Е5К (E5K) and 2/3/4ЕС5К (ES5K) The Ermak ("Ермак"), a family of new 25 kV AC mainline freight electric locomotives with four-axle sections equipped with collector traction motors. The number of sections can be from one to four (internal - boosters without cabs). This model of AC locomotives is named in honour of Russia's national hero Ermak, conqueror of Siberia in the times of Ivan IV The Terrible. They are the next evolutionary stage in the development of ВЛ80 (VL80) freight electric locomotives and are positioned as their main replacement. Like the VL80, they were developed by the All-Russian Research Institute of Electric Locomotive Building (VELNII) in Novocherkassk and have been produced since 2004 at the Novocherkassk Electric Locomotive Plant, a part of the CJSC Transmashholding concern, currently being the most mass-produced family of Russian electric locomotives. More than 2200 ones have already been built, including 1500 three-section 3ES5K. Production of DC eclectric locomotives is more limited with 148 of 2ES4K and 78 3ES4K were built to 2022 consequently.
Locomotives have a steel wagon-type body with a main frame, on which a plastic block control cabin and a set of equipment are mounted. The running gear is designed with axle-axle suspension of traction electric motors with motor-axle plain bearings. The bogies of the low-production 6-axle freight-passenger (Bo'Bo'Bo') electric locomotive ВЛ65 (VL65) are used, this bogie differs from the bogies of VL80 and VL85 by the absence of leaf springs (flexicoil suspension is used), and from the bogie of ВЛ80, in addition, by the absence of kingpins, the force transmission is through the central inclined link. The AC locomotives are equipped with advanced 850 kW collector traction motors НБ-514Д (NB-514D; in new modification ES5S is used asynchronous motors ДТА-1100 and IGBT transistors), as well as a microprocessor control system that provides manual and automatic motion control, diagnostics of motion parameters and operation of all locomotive equipment, electric regenerative braking. Its DC counterparts use different 800 kW DTC-800 traction motors and have a dynamic brake in addition to regenerative braking.
The P-40 was developed as an attempt to modernize the P-36 fighter. The P-36's radial engine was replaced with a more powerful and streamlined liquid-cooled Allison V-12, allowing for a top speed of 345 mph. The allowed the US to rapidly develop a modern fighter which was adequate, but never achieved greatness.
The P-40 was the US's primary fighter in 1942 (it had also seen extensive use by the famed "Flying Tiger" squadrons in China in 1941). Against Japanese fighters like the Zero, the P-40's superior armor and diving speed allowed it to be successful in diving, slashing attacks. Attempting to dogfight the much more maneuverable opponents was a very Bad Idea.
The P-40 was always hampered by its engine, which lost power above 15,000 feet. A turbocharged version of the V1710 would have improved performance, but these were committed to the P-38 Lightning. As a result, P-40s were shifted to the role of fighter-bomber as soon as more advanced fighters became available.
At the Museum of the US Air Force, Dayton, OH
I recently developed an ancient roll of Tri-X "found film" that came from a camera I got somewhere, but no longer remember which one it was. The film has a lot of base fog, but I did get images from it that were relatively acceptable. All of them were taken at what looks like a family picnic, and everyone was wearing checkered short-sleeve shirts. It must have been a family joke. These two women were drinking Blatz beer, and the time period is late 1950s to early 1960s. You can read the blog post and see more images here: randomphoto.blogspot.com/2010/12/checkered-past.html
This is from my first home-developed roll of color, using the Tetenal Colortec C-41 Rapid Negative Kit. I'm really excited to have decent first results. :-)
Yashica 44 Twin Lens Reflex
Bluefire Murano 160
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.
The Rise
Regency Square Mall was originally developed in the mid-to-late 1960s. The project was initiated by Regency Centers, a now-powerful retail real estate trust based in Jacksonville that was at the time just getting started.
The mall was constructed at a cost of $12 million upon a giant clump of sand dunes, and opened its doors to the public in 1967. It featured three anchor stores – JC Penney, Furchgott’s, and May-Cohens – as well as an adjacent movie theater.
Regency quickly became a hit, owing a lot of its success to its location. At the time the Arlington area was among Jacksonville’s fastest-growing neighborhoods, and Regency Square Mall was by far the closest retail hub for its residents as well as shoppers coming into town from the beaches. It also helped that the mall was built in an era where shopping malls were quickly becoming a ubiquitous part of life in America.
The surrounding area experienced a development boom, with shopping centers, car dealers, office parks, and restaurants popping up all along neighboring stretches of Atlantic Blvd. Some of this was a result of continued growth in Arlington, but much was the direct result of traffic brought in by Regency’s success.
By the late ’70s, Regency was one of the country’s most active malls, and completely dominated the Jacksonville shopping landscape. The only “nearby” mall that could claim to compete with Regency’s offerings at the time, Orange Park Mall, was over 24 miles away.
Naturally, the mall’s ownership wanted to capitalize on this success, so around this time plans were developed to double the size of the mall at a cost of around $30 million.
Bizarrely, developers opted to tack on the additional space to the opposite side of May-Cohens, creating two wings divided by an anchor store. Ivey’s and Sears became the anchors of the newly-opened west wing.
Shortly thereafter, the east wing would get upgrades in the form of an AMC theater and a large food court.
All the while, business continued to boom at Regency Square, perhaps more so than ever.
The Fall
There’s an old proverb based on a Bible passage that states, “Pride comes before a fall.”
In the mid ’80s, Furchgott’s announced their merger with Stein Mart. While most of the chain’s stores were converted to the Stein Mart branding, Regency’s operators proudly believed the brand to be too low-class for their mall and opted to pursue a replacement anchor.
At the turn of the decade, Regency faced stiff new competition in the form of The Avenues. This new two-story mall, constructed along the intersection of Philips Highway and Southside Blvd., offered a slightly more upscale shopping experience and threatened to lure customers from the then-thriving Baymeadows area away from Regency.
Around this same time, cracks began to show in the foundation at Regency. The mall changed ownership, being sold off to Chicago-based General Growth Properties.
A couple of anchor stores began a decade-long game of musical chair. Dillard’s moved to yet another new wing, vacating the former Ivey’s, which would then become a Montgomery Ward. May-Cohens would become a Gayfer’s, then later a Belk.
Most significant, however, was the rapidly-growing issue of crime. By the early ’90s, yearly crime reports at the mall reached quadruple digits. Over the following decade, the mall rapidly developed a reputation among locals as “the sketchy mall”.
The mall’s management made attempts to fix their reputation, but for the most part the damage had been done. The addition of a JSO substation in 1998 did little to curb the crime epidemic, and the addition of an aggressively-enforced mall dress code the next year only served to alienate its remaining customers.
It seemed clear that despite the mall’s shortcomings, its management felt as though it was still an elite retail hub. In other words, they let pride take the place of rationality.
Another round of renovations in the late ’90s brought an upgraded food court and theater. When Montgomery Ward left in 2001, management pursued big-name anchors rather than simply looking to fill the vacated spot. As a result, Ward’s spot stayed empty for five years.
In 2005, the opening of the St. Johns Town Center made Regency’s survival even less likely. The Town Center now catered to the upscale crowd, with The Avenues’ savvy management team rolling out renovations around the same time to keep up appearances.
Meanwhile, Regency’s crime rate grew worse and vacancies began piling up within its corridors.
By the late 2000s, it was clear that the mall was dying. Crimes at Regency outpaced those at The Avenues and St. Johns Town Center combined.
The mall’s west wing became a ghost town. Dillard’s converted their location to a clearance center. A shooting in 2008 involving an off-duty JSO officer only served to further solidify the mall’s reputation as a bad place. Many locals refused to shop at the mall by themselves, or after dark.
By 2014, the mall’s occupancy rate slipped well under 50%. Belk, which occupied the anchor space that separated the east and west wings, announced that they planned to bolt to a standalone store further down Atlantic Blvd. General Growth Properties, finally accepting that they wouldn’t be the ones to save the mall, put it up for sale in 2013, and got rid of it just a year later.
When new ownership took over, they opted to close down the west wing and move any remaining tenants over to the east wing in hopes of saving at least one part of the mall.
The multi-awarded Mandaluyong Childrens Choir under the baton of maestro Sebastian L. Trinidad.
The Mandaluyong Children’s Choir was formed in 1999 as a training program that aims to develop and nurture the musically gifted among the underprivileged in Mandaluyong City, and since then, it has become a spring of hope and pride for the town folks with its talented trove of 8 to 17 year old boys and girls, most of which are sourced from public schools. MCC has drawn a proud list of achievements. Topping the roster is representing the Philippines and winning a silver medal in the Children's Choir Category and a bronze medal in Musica Contemporanea Category in the 2nd World Choir Olympics in
Busan, South Korea. Only Selfless Love, a music video which featured the young choir internationalists, was adjudged Best MTV in the 2002 Catholic Mass Media Awards and later became a finalist at the prestigious 2004 New York Festival. This feat was reprised in 2007, when their MTV, the Power to Unite, again, won the Best MTV award in the 2007 Catholic Mass Media
Awards. Part of their First North American Tour, they became the first Filipino choir to win at the International Choral Kathaumixw in Powell River, British Columbia, Canada. In 2005, the choir had the chance to represent the Philippines in the 2005 World Children’s Choir Festival in China.
To date, they have independently produced seven albums: Unang Hirit (2000), Angelic Christmas (2000), Angeli Domini (2002), Symphony of Earth Angels (2002), Childhood (2004), Haleluya!: The Asian Soundscape (2005) and Pasko Sa Langit (2005). The Earth Angels had appeared in Concert Seasons of the Philippine Philharmonic Orchestra and have had engagements with
the Manila Symphony Orchestra II and the Manila Philharmonic Orchestra.
Specializing in the innovations in Contemporary Choir Music, the MCC continues to research for breakthroughs of Asian composers as well as its Western counterparts. Materials collected and commissioned find its way into the adventurous programming of the choir.
Developing some of the last free space left of
Robert Mueller Municipal Airport between Aldrich and Mueller Blvd. Mueller Business District
Photo showing Claudia Schnugg (AT).
Panel Discussion with Q&A
With Claudia Schnugg (AT), Ekaterina Nikitina (RU), Gabino Carballo (ES), Tatiana Kourotchkina (RU),
Zackery Denfeld (US)
As the biodiversity crisis and the climate emergency are threatening to make life on Earth unbearable, art and science practices, approaches, and aesthetics have the potential to create a new framework to develop tools and strategies against biodiversity crisis. Stemming from the Creative Europe Project “Roots & Seeds: Biodiversity Crisis and Plant Resistance”, an international panel comprised of artists, scientists and researchers whose practice revolves around art and science will share with the audience their outcomes and emotions regarding the emergency we are currently living in.
Photo: Florian Voggeneder
I can't believe it actually worked. I didn't measure time, temperature or ingredients particularly well.
Developed with caffenol
Approximately 500ml water
Approximately 27g washing soda
Approximately 8g of vitamin C powder
Approximately 20g instant coffee
100ml of Ilford Rapid Fixer + 400ml water
Water warm from the hot tap to help dissolve the ingredients, left for approximately 10 minutes to cool.
Develop - Approximately 15 minutes, 5 or 6 inversions in the first minute, and then occasional inversions at random intervals after that.
Stop - 5 or 6 changes of cold tap water, then left in cold tap water for approximately 5 minutes. Then 2 or 3 changes of cold tap water. [Actually while the film was left in the cold water I had a cup of tea.]
Fix – 3 or 4 minutes, 5 or 6 inversions in the first minute, then occasional inversions after that.
Wash – Approximately 10 changes of cold tap water, then after removing the tank lid running cold tap water for approximately 2 minutes.
Kodak 2238 shot at ISO 100 and developed in H&W Control 1:15. Underexposed and overdeveloped this is the first experiment. H&W Control was invented by Harold Holden and Arnold Weichert and “perfected” to work with Agfa Copex Pan Rapid microfilm which was rebranded by H&W as a house film to work with Control developer. The purpose of the creation was to use the high contrast film for aerial reconnaissance who H&W contracted with. Here I’m trying to see how high we could reasonable run 2238 as a standard film for snapshots etc.
H&W Control’s patent states it’s normal initial use should be 1:15 dilution at 68 degrees F for 12 minutes and then expand from there. This roll was shot at ISO 100 then split. I developed the first half of the roll at 68 degrees for 13 Minutes and the second half for 14 minutes. Standard agitation is constant for the first 2 minutes and then 6 seconds every minute thereafter. Stop/washed in tap water at 68 degrees and fixed in Ilford Hypam 1:4 for 3 minutes (H&W suggests 2 minutes).
These were shot on the same 2 days, overcast with little direct sunlight. The shots are obviously underexposed. But some of them are pretty adequate with some post process. There is a tendency for the picture to go dark and appear as evening or even well lit night. However it is easy to brighten the scene.
After some thought I think the goal will be to get clear ISO 80 pictures on 2238. I will next extend the developing time in order to clear up some of the blocked parts. I may try some sodium thiocyanate something around 1 g/Liter of stock so 0.06 gram in the working solution.
H&W Control
Water (60ºC)75 ml
Sodium Sulfite, anhydrous1.9 gpreservative
Hydroquinone0.3 gdeveloper agent
Sodium Carbonate8.7 galkali, accelerator
Phenidone2.07 gdeveloper agent
Water to make125 ml
Sodium Sulfite15.15 gpreservative
Water to make250 ml
Capacity at 1+15 dilution4 L for 13 rolls