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Espacio TAE
22 y 29 de agosto de 2014
Actuación: Leonardo Basanta, Verónica Carlé y Victoria Hernández.
Escenografía y vestuario: Micaela Volpi- Sofía Camparo
Fotografía: Luciana Demichelis
Dirección: Carolina Donnantuoni.
Standing like unstrung lutes in a temple like gallery these forms could be instruments waiting to be strung and played to bring the gods into contact with the worshippers. Strings will never be set into these forms and yet they and tuned and played. The setting arranged by the artist and the scene made in the gallery create the tension on the strings. The viewers play the notes and follow the ephemeral chords to reach their own divine imaginings.
At the time of taking these pictures The Hepworth Wakefield was just over a year old. It houses a superb collection of works by Barbara Hepworth and features displays from other artists. Designed by David Chipperfield Architects with 10 galleries this is definitely a place to make a visit to.
The Hepworth Wakefield
Gallery Walk, Wakefield, West Yorkshire, WF1 5AW
T: +44 (0)1924 247360
Printmaking Project
Initially this project was to create a concept of the elevation for the Museum of Technology.
The topic for the series of those prints was „Mechanical Forms”. I wanted to make the series of prints which would produce one consistent pattern that would be sequential. I drew two different combinations of the set of the cogs on the linoleum and engraved it very deeply. I printed the actual linocut in black using the printing press. After experiencing it I wanted to make it look more interesting, that is why I developed the idea further and made another linocut to obtain even deeper printing matrix. I wanted to use it as a block printing form made of an elastic silicone rubber. I poured the silicon over the matrix and waited till it hardens. When it was solid I rolled the gold and white oil based ink over the silicon “stamps” and printed it by hand onto the black paper. I had to be very careful, because I did print it with a different stamp every time so, that it would be duplicated without a noticeable gap. The effect was quite stoning and very textile like. The mechanical character of the composition was strengthen by multiplying of the forms. I have also noticed that I have reached proper limit of the scale of a singular printing element versus the total size of a print and that further multiplying of the stamp would diminish the power of the image. I am planning to explore this technique in the future.
FORM V by Mark Andrew Webber. The fifth in a 5-part series of works published by The Future Tense.
Email info@thefuturetense.net for more details.
Best viewed as a set here: www.flickr.com/photos/thefuturetense/sets/72157636580595424/
FL, Alachua Co., Santa Fe River at High Springs; 30 May 2014. FFS-14-39.
In most damselflies, males of a species are fairly uniform in appearance. However, females often come in a variety of color and striping patterns, a phenomenon called polymorphism (literally, many forms). In the Powdered Dancer, females come in several different forms and the types and proportions of each vary geographically. On the Santa Fe River near High Springs, the predominant forms are brown and blue (shown here) thorax, plus a few that are green. The thin, horizontal, deeply-cleft "V" pattern on the side of the thorax (seen in this individual) may be present or absent.
Canon 7D camera and Sigma 150 mm macro lens with 1.4X TC.
Winning form returns against CIYMS
by Roger Corbett
In this important fixture, it was Bangor who took the victory against CIYMS by 22-5 resulting in the two sides swapping places in the league.
Bangor got the game underway, kicking off into a stiff breeze. Within 3 minutes, Bangor conceded the first penalty of the game, which CIYMS elected to kick for goal, but failed to convert. The Bangor back line looked sharp, with Davy Charles coming in from full back to break the CIYMS line and set up a promising attack. James Henly came close but the CIYMS defence was sound.
The Bangor pack had seen a number of changes as the result of ongoing injury problems, but it performed well in both scrum and lineout set pieces. In fact it was from a lineout after just 9 minutes that the ball was cleanly won and passed quickly to Jason Morgan at out half, who produced another great line to wrong foot the CIYMS defence and ghost in to score under the posts. The conversion was successfully taken by Neil Cuthbertson, putting Bangor into the lead by 7-0.
This gave Bangor the boost they needed, and they continued to dominate play. After a further 6 minutes, from a scrum just inside the CIYMS half, scrum half Craig Harper passed to Morgan who then off-loaded to Mike Aspley in the centre. Although tackled, he managed to get the ball to Phil Whyte who had followed up from propping in the scrum. Drawing the defending tacklers, he then passed to flanker James Henly who burst through to run in unopposed for Bangor’s second try under the posts. Again, the simple kick was converted by Cuthbertson, doubling the lead to 14-0.
CIYMS responded well, using the wind advantage wisely to bring play repeatedly back into Bangor’s territory, but mistakes at crucial periods of play denied them any meaningful scoring opportunities. Bangor, on the other hand, stuck to their plan and continued to apply pressure. This soon forced CIYMS to concede a kickable penalty, which Cuthbertson converted to increase the lead to 17-0 after 23 minutes of play.
However, just 3 minutes later, the referee showed the yellow card to captain Jamie Clegg after he was judged to have deliberately knocked on the ball while defending a CIYMS attack. From the subsequent penalty, CIYMS passed the ball wide to the left and made a push for the line. What looked like a certain try was prevented by great Bangor defending, as they managed to hold the ball up and win the turnover.
Within minutes of Clegg’s return from the sin bin, the circumstances that led to his penalty were repeated, this time by Jason Morgan who similarly was shown the referee’s yellow card. From this penalty, the CIYMS players didn’t make the same mistake as before, and finally managed to touch down for a try in the left hand corner. The difficult kick was missed, but CIYMS were now on the scoreboard, reducing Bangor’s lead to 17-5 as the first half drew to a close.
As the teams turned around and CIYMS got the second half underway, hopes were high that Bangor would build on their first half tries and use the wind to keep their opponents pinned down in their own twenty two. However, it’s fair to say that CIYMS came out the stronger and frustrated Bangor’s attacks, while moving the ball through their backs with more purpose and accuracy.
It was not until 30 minutes had been played that the second half deadlock was broken. From a long CIYMS clearance kick, the ball was safely taken by Harper inside his own half. Two long and quickly made passes, saw the ball move via Jason Morgan to Davy Charles whose pace was too much for the thinly spread CIYMS defence. Running wide, he rounded the final CIYMS players to score on the right hand side. Cuthbertson’s kick was just wide of the posts, but Bangor were now 3 tries to the good, and within sight of another bonus point victory.
However, just 2 minutes later, and with CIYMS moving back into Bangor territory, the game produced another sting for the home side. In his attempt to intercept a long CIYMS pass, he knocked the ball forward and stopped the CIYMS attack. The referee deemed this to be deliberate once again and produced a second yellow card which in turn led to a red card, and Morgan was to take no further part in the game. Stung by this set-back, and with just 8 minutes remaining, Bangor re-grouped and wisely focussed on defending their lead and denying CIYMS any further scoring chances. This they did, and as the final whistle was blown, they could celebrate a return to winning ways, and a return to their previously held 3rd position in the league.
This was an encouraging team performance that should give added confidence as the players now set their sights on the first round of the Towns Cup (next weekend, at home to City of Derry 2nds), followed by a challenging journey to league leaders Clogher Valley in the league afterwards.
Bangor side: P Whyte, A Jackson, J Leary (J Harrison), A Rushe, D Kelly, J Henly, R Latimer, J Clegg (c), C Harper, J Morgan, M Widdowson, M Aspley, C Morgan (G Caughey), N Cuthbertson, D Charles
Subs: J Harrison, G Caughey
Bangor scores: J Morgan (1T), J Henly (1T), D Charles (1T), N Cuthbertson (2C, 1P)
The corner by the kitchen is, as usual, tricky. The foundation doesn't come all the way up to the electrical main, but they'll have to cut the form down.
formed by accumulation of iron oxide around outlets of three cold mineral springs. the greenish colour is the result of the mixing of fresh water.
Soldiers form the 3d U.S. Infantry Regiment (The Old Guard), conduct a Twilight Tattoo performance on Whipple Field, Joint Base Myer Henderson-Hall, Va., July 24, 2013. Twilight Tattoo is an hour-long pageant, which showcases the U.S. Army through Old Guard Soldiers and The U.S. Army Band. (U.S. Army photos by Staff Sgt. Luisito Brooks)
Diesel locomotive Mk45 2005 is seen at Huvosvolgy running on to the coach to form a service to Széchenyihegy.
Budapest Childrens Railway
4 February 2017
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Southern Hawker Dragonfly. The two shots I've posted are the result of 40 intensely frustrating minutes of mostly following the flight, pressing the shutter and trashing the out of focus result! Swallows in flight are easy by comparison. (The title is because I mis-identied it as an Emperor. Thanks again to Fenwalker whose shots of invertebrates are superb!)
via Blogger ipmanmovie.blogspot.com/2018/02/pregnant-by-mascha-halber...
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These most recent pics were to show form in photography. We had to hand in a contact sheet with 20-24 photos and print an 8x10 of the one shot we thought was best.
I didn't put all 20 up here because...well...some were just filling space. The Ho-Jo's building I printed as the 8x10
Photographic techniques capture electromagnetic wavelengths beyond human vision, revealing features invisible to the naked eye. These signals are processed into interpretable forms using methods like color mapping.
Pink lacks a specific electromagnetic wavelength, while grey poses a limitation due to its representation of only intensity—a blend of light and dark without spectral specificity. Imaging techniques reliant on spectral variation produce identical results for greyscale images unless non-visible data is present. Deviations from this uniformity may indicate errors, misinterpretations, or unknown phenomena.
Contention persists over analytical debates, including dismissible claims like Van Allen belt dangers and contested evidence of lunar mirrors. The precision of laser reflections targeting a moving 3x3-foot marker on the Moon highlights technical skill but often fails to resolve skepticism. For instance, a 0.1° shift moves a laser spot 670 km across the Moon's surface.
Forensic analysis (2022, 2023) of Apollo 11–17 photographs assessed authenticity claims. Images of humans in space, Earth, and the Moon's distant views were validated, but Moon landing visuals showed variations, suggesting diverse techniques may have replicated certain elements.
PEMi (Photoelectromagnetic Image) software enhances forensic analysis by differentiating natural and artificial light sources, revealing hidden features. Each PEMi-ID links to original sources, ensuring traceability and comparison.
Further exploration is available:
Lehti, A. (2024). The Silence of Inquiry: Forensic Reflections Reveal a Crisis of Perception. figshare. doi.org/10.6084/m9.figshare.28078982
Credits
2022-2025 © Andrew Lehti
1961–2023 © NASA, ESA
Software: PEMi (GitHub: andylehti/PEMi.git)
Explore PEM-I: pemimage.streamlit.app
CC BY-SA 4.0 License: creativecommons.org/licenses/by-sa/4.0/
Research:
Lehti, Andrew (2024). Cognitive Psychology and the Education System. figshare. Collection. doi.org/10.6084/m9.figshare.c.7532079
CC BY-SA 4.0
This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit creativecommons.org/licenses/by-sa/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.
Formed 1.5 billion years ago from a dome of molten magma, the large granite boulders at Elephant Rocks State Park resemble a train of pink elephants. The reddish or pink granite has been quarried in this area since 1869, and has provided red architectural granite for buildings all across the country, particularly in nearby St. Louis, Missouri. Stones unsuitable for architectural use were made into paving stones that were used on the streets of St. Louis, as well as the wharf along the Mississippi River. The granite from this area is commercially known as Missouri Red monument stone.
One of the largest boulders, named “Dumbo,” measures 27 feet tall, 35 feet long and 17 feet wide, tipping the scales at a hefty 680 tons.
Elephant Rocks State Park was created in 1967 following donation of the land by geologist John Stafford, and is managed by the Missouri Department of Natural Resources. It is located in Iron County, Missouri, and is part of the Saint Francois Mountains, which rise over the Ozark Plateau in southeastern Missouri. This mountain range is one of the oldest exposures of igneous rock in North America. The park has a one-mile paved Braille Trail designed for people with visual and physical disabilities.
© All rights reserved - - No Usage Allowed in Any Form Without the Written Consent of the photographer, Mark Schuver.
The best way to view my photostream is on Flickriver: Nikon66's photos on Flickriver