View allAll Photos Tagged Documentation,
A Photojournalistic Documentation of how Covid-19 has affected the North, and how the North has adapted to overcome these difficulties.
Whilst the Highlands has always been popular with national and international tourists, there has been a massive rise of Scots enjoying a staycation, with camper vans and tents being the popular choice for accommodation as opposed to the hotels and hostels dotted around the North. Also on the rise are those travelling in their own cars, motorbikes, cycling and even 2 former hearses, who camp in tents at the roadside.
With the rise of staycationers, shops and restaurants have been extra vigilant to keep to the governments guidelines by measuring distancing on shop floors, having signs in shop windows to remind visitors to wear a face coverings, some shops limiting the amount of customers in at a time, offering hand sanitiser at the entrance, and many even having artwork of some form thanking the NHS for its hard work.
Not everything is fully open however, but those who can open have had to change how they operate. Tourist destinations that are able to open have had to limit the amount of customers to keep everyone safe, so for many tourists and staycationers they are opting to avoid tourist hotspots and are mostly interacting with activities they can do by themselves, so instead of visiting castles, museums and activity centres, tourists drive to beauty spots, go for walks, and are interacting with the natural landscape more. Instead of tourist hotspots like Eilean Donan Castle being queued out the door, tourists only go as far as the car park, get some photos of the castle, then leave to visit something else.
So has Highland tourism been affected by Covid-19? Yes, where folk are more cautious, shops and restaurants have signage in place requesting patrons wear face coverings, where town centres are quieter than usual, where public toilets have signage, where campsites won’t allow motorhomes unless they have on-board toilets, where almost every lay-by in the evening has someone camping overnight. So whilst it has affected the tourist season it hasn’t stopped tourism, if anything the Highlands are busier than normal due to a massive rise in staycationers, it’s made tourist and locals alike be more careful, where local community councils are making sure there are toilet facilities available or trowels left in camping locations to bury human waste, where hand sanitiser is available at popular tourist destinations, shops and public toilets, where many shops have upgraded their payment options where previously they only accepted cash, many have modernised and installed card payments.
So yes, it’s been affected, but the most notable negative impact is that businesses are losing trade as less folk are spending money in restaurants, shops and tourist hotspots, so whilst there is an increase in visitors to the Highlands, there is a decrease in money being spent.
All in all, the North has been doing a fantastic job with its Covid-19 precautions, they’re taking it seriously and making sure visitors are safe.
A Photojournalistic Documentation of how Covid-19 has affected the North, and how the North has adapted to overcome these difficulties.
Whilst the Highlands has always been popular with national and international tourists, there has been a massive rise of Scots enjoying a staycation, with camper vans and tents being the popular choice for accommodation as opposed to the hotels and hostels dotted around the North. Also on the rise are those travelling in their own cars, motorbikes, cycling and even 2 former hearses, who camp in tents at the roadside.
With the rise of staycationers, shops and restaurants have been extra vigilant to keep to the governments guidelines by measuring distancing on shop floors, having signs in shop windows to remind visitors to wear a face coverings, some shops limiting the amount of customers in at a time, offering hand sanitiser at the entrance, and many even having artwork of some form thanking the NHS for its hard work.
Not everything is fully open however, but those who can open have had to change how they operate. Tourist destinations that are able to open have had to limit the amount of customers to keep everyone safe, so for many tourists and staycationers they are opting to avoid tourist hotspots and are mostly interacting with activities they can do by themselves, so instead of visiting castles, museums and activity centres, tourists drive to beauty spots, go for walks, and are interacting with the natural landscape more. Instead of tourist hotspots like Eilean Donan Castle being queued out the door, tourists only go as far as the car park, get some photos of the castle, then leave to visit something else.
So has Highland tourism been affected by Covid-19? Yes, where folk are more cautious, shops and restaurants have signage in place requesting patrons wear face coverings, where town centres are quieter than usual, where public toilets have signage, where campsites won’t allow motorhomes unless they have on-board toilets, where almost every lay-by in the evening has someone camping overnight. So whilst it has affected the tourist season it hasn’t stopped tourism, if anything the Highlands are busier than normal due to a massive rise in staycationers, it’s made tourist and locals alike be more careful, where local community councils are making sure there are toilet facilities available or trowels left in camping locations to bury human waste, where hand sanitiser is available at popular tourist destinations, shops and public toilets, where many shops have upgraded their payment options where previously they only accepted cash, many have modernised and installed card payments.
So yes, it’s been affected, but the most notable negative impact is that businesses are losing trade as less folk are spending money in restaurants, shops and tourist hotspots, so whilst there is an increase in visitors to the Highlands, there is a decrease in money being spent.
All in all, the North has been doing a fantastic job with its Covid-19 precautions, they’re taking it seriously and making sure visitors are safe.
The Documentation Center Nazi Party Rallying Grounds (German: Dokumentationszentrum Reichsparteitagsgelände) is a museum in Nuremberg. It is in the north wing of the unfinished remains of the Congress Hall of the former Nazi party rallies. Its permanent exhibition "Fascination and Terror" is concerned with the causes, connections, and consequences of Nazi Germany. Topics that have a direct reference to Nuremberg are especially taken into account. Attached to the museum is an education forum.
In 1994 the city council of Nuremberg decided to establish the Documentation Center. Austrian architect Günther Domenig designed the museum, winning the 1998 international competition with his proposal to spear through the northern head of the building with a diagonal glass and steel passageway. Inherent in the gesture of this project is a pun on the name and a refutation of the chief Nazi architect Albert Speer who had directed a masterplan for this site including a Zeppelin Field, a stadium to hold 400,000, a March Field for military exercises, a Congress Hall for 50,000, and a 180-foot (55 m) wide Great Road.[1] This is where Speer had created the "cathedral of light" and where the Nazis drew nearly a million people in rallies between 1933 and 1938. These were captured on film by Leni Riefenstahl in Triumph of the Will. Domenig, the son of a Nazi judge, confronted his own personal history in addition to the history and Nazi architecture of the project's site. On November 4, 2001 the project was unveiled by Johannes Rau, then President of Germany.
my friend evan gealy at kyklops tattoo in pittsburgh updated my shoulder tattoo and added some work (some partially visible here) on my back. sorry for the lame photo.
This photograph shows my work 'Werkhuizen' at my art academy for the 'Open doors days' in june 2006.
THE SAMARSKY YARD, photographic documentation of the urban research project; initiated by schiemann weyers architects, supported by the creative industries fund nl, and published by tatlin publishers.
www.schiemannweyers.eu/html/project/urbandesign/1801-sama...
We drove to Quincy Illinois today (1/3/15) to witness our first Ivory Gull. This gull traipsed and meandered back and forth across the Mississippi river from the Illinois to the Missouri side.
We watched as he hung out on a barge when we first arrived. He then flew downstream and
perched on various ice patches at different times from which he'd make forays to catch little fish. Near the end of the day, he bathed and preened.
What a lovely pure white gull accented with tiny black eyes and legs aswell as a small subtle bill that starts out grayish at the base, continues grayish until it becomes yellow about midway. The yellow is finished off with an orange tip. He was about the size of a stocky Ring-billed Gull.
Documentation Centre, Nürnberg Dokumentationszentrum. Designed by Albert Speer In 1933, the National Socialists decided that Nuremberg was to be the "City of the Party Rallies"
The Documentation Centre Party Rally Grounds, opened in 2001, is located in the north wing of the unfinished shell of the Congress Hall
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This photograph was taken by someone else some days after the art opening. Some people had already taken some cards. It seemed clear which card was the most wanted... Again after some days, all cards had been taken. So, overall the concept seemed to be working.
How to browse and search API documentation offline on Linux
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
The "data" represented here are for discussion only: it's the framework that's relevant.
The vertical axis varies depending on the document, methodology, or project, but in general it represents the maturity of the deliverable.
The point is that you create an artifact as part of a project, and it goes through these four stages:
• framing (where you initialize the artifact)
• elaboration (where you add detail)
• finalizing (where you cross the Ts and dot the Is)
• shelving (where you archive and reference the document)
The scale of maturation at each phase will vary.
In the background, the curve represents how important the artifact is over the course of its lifecycle. Again, this will vary depending on circumstance. I've imagined that relevance crests mid-way through elaboration, and then tapers off as the final due date comes near, with a drop after the due date.
My question to you:
• Does the framework resonate with your experience?
• Is the framework applicable for all kinds of documents of varying formality?
• Are there additional phases in the lifecycle?
• How dramatically can the curves (maturity and relevance) vary between different types of documents/projects?
What's next:
• Stuff happens in a project that "disrupts" this lifecycle. I'd like to integrate those into the picture.
--------------
Responding to @zsazsa and @soldierant (via Twitter):
A document's lifecycle is interdependent with the project methodology. These phases don't correspond to the project's process because I'll create different documents throughout a project. Each one of those documents has its own lifecycle, even if it doesn't last the length of a project.
At the same time, a document's capacity to mature is dependent on the circumstances of a project. This is the next layer of information I'd like to include: how can this lifecycle be disrupted?
This diagram isn't prescriptive (like a project methodology would be). Instead, I'm trying to describe the "natural" evolution of individual documents. (Why I use gerunds to label the phases rather than imperatives.)
As a metaphor, you might look at a whole story and describe the entire plot (the project process) or you might look at an individual character in the story (a deliverable) and describe his or her specific arc. Character's come and go: not every character at the beginning of the story is still there at the end of the movie.
ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
-----------------------------------------------------
Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.
documentation from the building phase of the installation shown at the UArctic 10 Years anniversary event at the University of Lapland, Rovaniemi, Finland
ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
-----------------------------------------------------
Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.
Slowly getting around to editing the rest of my documentation. Saving up money for a Nikon D3000. Trying to figure out a new goal for the next year.
The Documentation Center Nazi Party Rallying Grounds (German: Dokumentationszentrum Reichsparteitagsgelände) is a museum in Nuremberg. It is in the north wing of the unfinished remains of the Congress Hall of the former Nazi party rallies. Its permanent exhibition "Fascination and Terror" is concerned with the causes, connections, and consequences of Nazi Germany. Topics that have a direct reference to Nuremberg are especially taken into account. Attached to the museum is an education forum.
In 1994 the city council of Nuremberg decided to establish the Documentation Center. Austrian architect Günther Domenig designed the museum, winning the 1998 international competition with his proposal to spear through the northern head of the building with a diagonal glass and steel passageway. Inherent in the gesture of this project is a pun on the name and a refutation of the chief Nazi architect Albert Speer who had directed a masterplan for this site including a Zeppelin Field, a stadium to hold 400,000, a March Field for military exercises, a Congress Hall for 50,000, and a 180-foot (55 m) wide Great Road.[1] This is where Speer had created the "cathedral of light" and where the Nazis drew nearly a million people in rallies between 1933 and 1938. These were captured on film by Leni Riefenstahl in Triumph of the Will. Domenig, the son of a Nazi judge, confronted his own personal history in addition to the history and Nazi architecture of the project's site. On November 4, 2001 the project was unveiled by Johannes Rau, then President of Germany.
I let them choose which brushes they wanted to use and they beagn to paint. I cut up some ribbon and they explored the other materilas: yarn, pompoms, and especially the gravel!! The children were totally engaged.
Heidi
A Photojournalistic Documentation of how Covid-19 has affected the North, and how the North has adapted to overcome these difficulties.
Whilst the Highlands has always been popular with national and international tourists, there has been a massive rise of Scots enjoying a staycation, with camper vans and tents being the popular choice for accommodation as opposed to the hotels and hostels dotted around the North. Also on the rise are those travelling in their own cars, motorbikes, cycling and even 2 former hearses, who camp in tents at the roadside.
With the rise of staycationers, shops and restaurants have been extra vigilant to keep to the governments guidelines by measuring distancing on shop floors, having signs in shop windows to remind visitors to wear a face coverings, some shops limiting the amount of customers in at a time, offering hand sanitiser at the entrance, and many even having artwork of some form thanking the NHS for its hard work.
Not everything is fully open however, but those who can open have had to change how they operate. Tourist destinations that are able to open have had to limit the amount of customers to keep everyone safe, so for many tourists and staycationers they are opting to avoid tourist hotspots and are mostly interacting with activities they can do by themselves, so instead of visiting castles, museums and activity centres, tourists drive to beauty spots, go for walks, and are interacting with the natural landscape more. Instead of tourist hotspots like Eilean Donan Castle being queued out the door, tourists only go as far as the car park, get some photos of the castle, then leave to visit something else.
So has Highland tourism been affected by Covid-19? Yes, where folk are more cautious, shops and restaurants have signage in place requesting patrons wear face coverings, where town centres are quieter than usual, where public toilets have signage, where campsites won’t allow motorhomes unless they have on-board toilets, where almost every lay-by in the evening has someone camping overnight. So whilst it has affected the tourist season it hasn’t stopped tourism, if anything the Highlands are busier than normal due to a massive rise in staycationers, it’s made tourist and locals alike be more careful, where local community councils are making sure there are toilet facilities available or trowels left in camping locations to bury human waste, where hand sanitiser is available at popular tourist destinations, shops and public toilets, where many shops have upgraded their payment options where previously they only accepted cash, many have modernised and installed card payments.
So yes, it’s been affected, but the most notable negative impact is that businesses are losing trade as less folk are spending money in restaurants, shops and tourist hotspots, so whilst there is an increase in visitors to the Highlands, there is a decrease in money being spent.
All in all, the North has been doing a fantastic job with its Covid-19 precautions, they’re taking it seriously and making sure visitors are safe.
A new way of thinking about documentation. Per "meta" topic a home page that features content based on tags, popularity, and date stamps.
Documentation Centre, Nürnberg Dokumentationszentrum. Designed by Albert Speer In 1933, the National Socialists decided that Nuremberg was to be the "City of the Party Rallies"
The Documentation Centre Party Rally Grounds, opened in 2001, is located in the north wing of the unfinished shell of the Congress Hall
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my web site