View allAll Photos Tagged Environmental
Ok, showing off a bit with this one, Lukasz, one of the crew members on top of an almost full fish room.
Putting photos in Flickr groups has made me realize that some of my favorite photographs are hard to classify. Is this a landscape? Or a wildlife portrait? I'd say it's some of both, which is what I like most about it.
It captures the curious, uncertain, and disinterested expressions of the hippos, but it doesn't separate them from the broader context of their habitat. To me, images like this give the best sense of what a place is truly like.
Environmental activists are eager to collect garbage out of the river.
Let's see, what else was caught out of the river and what I have shot that day.
Chamsine / شمسين - Anjar / عنجر - Beqaa Governorate / البقاع - Lebanon / لبنان
Model: Michael Donaruma (Personal Trainer)
Advertising campaign for Midway Fitness in Rehoboth Beach, Delaware.
After a while, you can't help but read what's right in front of you, over, and over.
Sooner or later you'll be an expert on waste solidification, thermal treatment and hazardous waste disposal.
1:64 Die Cast Promotions:
Volvo VT800 Tractor
Freightliner Columbia
Clark Environmental
Olympus OM-D E-M5 Mark II
Olympus M.14-42mm F3.5-5.6 II R
For more info about the dioramas, check out the FAQ: 1stPix FAQ
Environmental Disaster.
This video can buy licenses at the following address:
www.pond5.com/stock-footage/49552783/environmental-disast...
Photographed on the side of a rail car
Northfield Minnesota
March 23rd 2021
This pictogram looks like an upturned fish on the shore next to a tree. If you see this sign on a chemical, it means that chemical is toxic to aquatic life. Of the nine Hazard Communication Standard/GHS signs, this is the only one that is optional, so you may not always see it on every chemical that is known to hurt fish or other aquatic life.
Date: 03-19-2021
Location: Bldg 9NW, ISS Mockups
Subject: ESA astronaut Samantha Cristoforetti during Environmental Health Systems (EHS) water operations training.
Photographer: NASA-J.Blair
ID: jsc2021e010822
What is environmental art?
Before we can answer this (if we can) the question must be divided into two questions:
1) What is art? and 2) What is environment?
1) What is art?
Art is a language, a means of communication.
What is communication?
Communication is listening and saying with the other. It is how life survives.
What does art communicate?
Art is language that interrogates language. When languages stagnate - when survival is threatened - art communicates the threat in a way that offers a solution.
How does language stagnate and how does this threaten survival?
A language stagnates when that which is written or spoken in the language becomes merely an ordering of things; at which point each iteration becomes an order as such, and not a means of communication - where none are actually listening or saying, and evolution ceases.
Communication is an ethical transaction in which each one must justify its saying in this moment and in the presence of a listening other. A language stagnates when all writing and all saying has been reduced to an ‘It is Written!’ or an ‘It is Said!’. (This could be thought of as a kind of fascism of the word.)
But where and how is such a catastrophe occurring?
It is happening right here in the lines of this text. Each of these words is the ideal object in which a rich variety of awkwardness is compressed. Each could be interrogated back into its roots, and beyond, into the very structure of things - by which I mean that we could stop here and now, in this moment, and listen in depth to what each word is actually saying. But to do such a thing would itself be counter-productive to the kind of ‘ideal survival’ that this flow of words permits.
So what’s the problem?
If art is for the re-creation of language - a necessary and continual balancing of human languages between the ordering of ideal objects as ‘knowledge’, and unknowable awkwardness of other things, then art is a fundamental human right and responsibility.
Art is the constant and ethical search for a paradigm of ‘awkward survival’; but the problem is that art itself has become the ideal object. The act of linguistic re-creation has been subsumed by the text it once sought to interrogate… art has been commodified, as 'Art!'
But surely that’s just a fact of life?
In recent centuries, in Western cultures, art has been taken out of the hands of people and is nowadays re-presented to them as 'The Art Experience!' - in which the knowing re-creation of language has been ceded to someone ‘creative’ called ‘An Artist!’
But in this move towards the power of an ‘ideal survival’, I have lost touch with the awkwardness of the Other - which would (if I could only understand it) make me what I am. Because the art of re-creating language with the Other has become objectified, the ethical search for an ‘awkward survival’ paradigm has all but ceased for the people of the West.
That the ‘ideal survival’ paradigm of Western cultures came to dominate the ethical instinct for ‘awkward survival’ of native American cultures in the 18th-19th century, was a ‘point of no return’ for the West. For these and other Indigenous cultures, things around were and are ethical symbols, imbued with the very awkwardness of the Other. But to the ‘knowing’ Western mind, spirit was and is invested in the image of an ideal - God.
And it is only now, in the aftermath of destructive colonisation, that we see the extent to which that differentiating mindset has led us towards ecological calamity and war. Those languages which enabled us to survive are no longer appropriate for our survival.
What can environmental artists do to improve our chances of survival?
What environmental artists can do, is try to help us solve the problem of this stagnant ‘ideal survival’ paradigm. Let’s face it, all artists are actually environmental artists, we all respond to the contexts in which we find ourselves. What’s required of artists and gallery directors/curators is that they have the will to move out of the so called ‘Art World’, and help the rest of us discover an ‘awkward survival’ paradigm.
How can we do this?
By looking towards that which causes the logic of ideals the most distress - which is the utmost awkwardness of quantum entanglement.
2) What is environment?
Environment is what we mean when we are surrounded by other things.
What is a thing?
A thing is an environment.
So an environment is a thing and a thing is an environment?
Yes, a thing is an awkward environment of things which has not yet be-come an ideal object (which it does when comprehended.) For example, ‘the chair is real’ is an ideal object; whereas the ‘chair is actual’ is an awkward environment of environmental things, extending in all directions to the edges of the universe thing and beyond.
What is quantum entanglement and what has it got to do with all of this?
“Quantum entanglement is the phenomenon whereby a pair of particles are generated in such a way that the individual quantum states of each are indefinite until measured, and the act of measuring one determines the result of measuring the other, even when at a [great] distance from each other.”
If we think of the pair of particles as two real objects apparently ‘separated by a vast distance of space’, then the fact that measuring the condition of one instantly determines the condition of the other is indeed very awkward for our ‘ideal survival’ paradigm - paradoxical in fact. But if we think of the pair of particles and the person doing the measuring as actually being one thing - an environment of environments - a constituent of a universe of infinitely overlapping environments, then the awkwardness is gone and the quantum paradox resolved.
This seems to suggest that space is not real?
On the contrary, space and time - and every ideal object in space and time - are real. It’s just that reality is not the actual state of things.
What is the actual state of things?
In comprehending, we simplify infinitely complex environments into the different ideal objects that we see around us. This comprehending is the be-coming of reality; and it’s not until a fundamental paradox arises in reality, that our way of comprehending is thrown into question.
In comprehending, we grasp together that which is apparently different - we differentiate between ourselves and the other objects which exist around us ‘in space and time’. But quantum entanglement seems to imply that this ‘differentiated reality’ is simply our way of comprehending things, and that our actual state (of which reality is but a condition) is singularity.
A singularity of what?
If our condition of reality means that we comprehend different objects in time and space, then that suggests that our state of actuality must be a state prior to difference - and of which difference is a limited condition. Such a state is understanding. Understanding is the actual state of difference. Difference is the real condition of understanding.
Understanding is the singularity of Otherness for which each other literally stands under (under-stands) all the others. What we comprehend as ‘this reality of objects in time and space’ is merely our differentiation of the actual singularity of understanding.
How can people/environmental artists make use of these things?
We and every other thing around us are actually environments of understanding. We under-stand each other as the flux of things. Each environment as a constituent of all environments. In other words we are one.
What this means is that we constitute, and are constituted by, every other environmental thing in the universe. We are the universe - we don’t just simply live in it. We are this planet Earth - we don’t just simply live on it. We are the others that surround us - we don’t just simply live beside them.
Moment by moment, you under-stand me and I under-stand you. We are entangled environments of understanding. If it is the right and responsibility for each one of us to re-create our means of communicating - our languages - then, on the basis of our unity with all other things, that is exactly what we must strive to disclose. We must learn to speak more slowly, thoughtfully, symbolically.
We are the things that appear to surround us and they us. How people/environmental artists make use of that knowledge would depend on the situations in which they find themselves. Nevertheless, by re-creating the other do we re-create ourself, or by harming the other do we harm ourself.
Stan Bonnar
31st July 2021
EXPLORED ON 03 MAY 2009 - # 288
How wonderful nature is, with the concept of synergy between the eco-system. While the critter is after the Honey in the flowers, the Flowers use the butterfly as a vehicle for pollination, and thus ensures its own survival. A win-win situation for both.
Similarly must we aim to create synergies with our own eco-system that is happy to provide for us. Rather than just take away from the environment, a little effort to also give back something to it, to ensure its continuous survival, is not just a way of saying gratitude, but may also be our duty.
What do you think?
Photograph © Kausthub Desikachar
Photographed with Canon EOS 5D Mark II, and Canon EF 100mm F2.8 USM Macro Lens. Handheld.
Please do not reproduce in any form without prior written consent from the copyright holder. Please contact the photographer through Flickrmail, to inquire about licensing arrangements.
I often justify this or that situation using the immensity of popular sayings that are sufficiently comprehensive and diversified so that, with only these , we maintain a medium content conversation. " We reap what we sow " seems to me to be the most suited to the crisis that I wanted to see represented in this image . Its a saying that I particularly like and try to take into account every day regarding my habits and attitudes .
Be ecological is today seen as one of the supreme state of evolution and can not sympathize with social fads or with momentary companies advertisements.
Despite I am absolutely in favor of the difference regarding to behaviors and opinions and believe in a profound way that only in that way we can evolve as a species, I also believe that there are certain values that do not give room for such differences. This image represents one of those realities .
By my life experience I can say that we fight harder for a greater cause when we are properly conducted and when we feel the support of a cohesive group. The crisis we are experiencing at an environmental level has a worthy adversary. What to do when the green colour of money fight against the green of nature? The group's capital is much more united and its strongly motivated. If we can not destroy it by the groups fight we have to try it in a individually level through a very small set of steps that everyone can take daily in terms of habits and consumption. Let us try to do it a certain way so that our children do not reap what we are planting .
Thanks for viewing one more image from the project THE CRISIS
Be safe...
Sérgio Moreira
Taken during Ray Lowe’s fantastic Environmental Portrait Course, along with wonderful model Lucy, which was held at the old Grade II listed Briggens House Hotel near Stanstead Abbots.
Original Caption: An Amtrak conductor for the Coast Starlight which travels between Los Angeles, California, and Seattle, Washington. Amtrak came into being with the railroad passenger service act of 1970 which authorized the National Railroad Passenger Corporation to manage the basic national rail network and operate most U.S. intercity passenger trains under contracts with the nation's railroads, May 1974
U.S. National Archives’ Local Identifier: 412-DA-13513
Photographer: O'Rear, Charles, 1941-
Subjects:
Los Angeles (California)
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: research.archives.gov/description/555965
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
The Sandhill Cranes were the first audience members for today's announcement at Valle de Oro National Wildlife Refuge, and they wholeheartedly approve. The U.S. Environmental Protection Agency (EPA) Region 6 recognized several groups for their innovative work in environmental justice (EJ). The plan is the first environmental justice strategic plan for a public land site, and aims to serve as a model for other urban public lands.
The plan was developed by Los Jardines Institute, Coming Clean, and Friends of Valle de Oro National Wildlife Refuge using a grant from EPA, as well as a grant from the U.S. Fish and Wildlife Service. The groups worked with the Mountain View Neighborhood Association to develop a plan to integrate the needs and mission of the refuge with those of the community. By using surveys and research the groups learned of the community’s environmental concerns, such as stormwater management and water quality, and developed the plan to incorporate those concerns into the development and management of the refuge.
The work supports the EJ 2020 Action Agenda, which is EPA’s five-year plan for achieving environmental justice goals. EJ 2020, focuses attention on environmental and public health issues and challenges facing the nation’s minority, low-income, tribal and indigenous populations.
Learn more about EJ 2020: bit.ly/2g707aZ
Credit Jessie Jobs/USFWS
Original Caption: A Caribou Rack Lying at the Foot of the Hill Which Is the Site for Pump Station #4. View South Along Pipeline Route 08/1973
U.S. National Archives’ Local Identifier: 412-DA-8009
Photographer: Cowals, Dennis, 1945-
Subjects:
Alaska (United States) state
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: catalog.archives.gov/id/550494
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
“This is my view of America. The flames at the bottom represent that the U.S. is slowly burning from the choices it has made. The vertical bars represent the prison bars that America is trapped behind. The keyholes show the ways we can unlock the prison (a tree for environmental choices and a plane for the war in Iraq.) The American flag in the corner shows the true America locked behind the bars that we can free before it’s too late.” --The student artist's own words.
--6th grade student artist’s own words written in Dec., 2005
This flag was exhibited on a bulletin board in 2005 at Capital Hill Gifted and Talented Magnet Shool in St. Paul. The student, who was in the 6th grade when he/she made this , is now a Senior in High School. Previously I did not want to name the school for fear that it might alert federal agents to investigate and intimidate the teacher or the school for being "anti-american"! That was 6 years ago though . . There is a great debate below this image and the other images of other student's flags that deals with issues such as brainwashing kids with liberal political propaganda and patriotism, etc. Read on and make a comment!
Original Caption: Jet contrail over the mountains of Searchlight. Desert air here is free of smog, May 1972
U.S. National Archives’ Local Identifier: 412-DA-6623
Photographer: O'Rear, Charles, 1941-
Subjects:
Las Vegas (Nevada)
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: research.archives.gov/description/549109
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
Environmental Defense at Herdade das Templarias
Protecting the environment — on land, in the air, and in the water — is our uncompromising, unwavering, and non-negotiable mission.
It is not just what we do; it is who we are,
cause we are !
📍 Herdade das Templarias
📷 Campaign partner TELENIMA
These little girls have been chosen by their teachers as health and mosquito monitors. They were chosen for their especially caring and kind natures and it is their job to make sure each of their classmates is safe and healthy from the threats of zika and dengue.
Credits: Joshua E. Cogan.
Environmental sustainability means protecting the future by making the right choices, in a world where natural resources are constrained, biodiversity is declining, and where climate change may exacerbate these challenges. It also means delighting consumers, and living up to the expectations of our employees and external stakeholders about our environmental responsibility and practices.
Some historic former manufacturing plants have a dark side, as these environmental monitoring wells at the former John Lucas/Sherwin-Williams Paint Works plant site show. The area is an EPA Superfund site.
Environmental pollution is considered the most important threat to human being and other creature lives. Every day at different places, thousands of various types of pollutants and chemicals from different sources are exposed to the environment.
Conserve School, an environmental boarding semester school, holds it Candlelight Ceremony with students on the closing weekend.