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Every other day and I do mean every other day, a so-called tech reporter writes a predictable article about how Apple is screwing themselves out of market share by not being "open." You probably know where this is going. Invariably they compare the current iPhone versus Android controversy to the Mac versus Windows drama that played out about twenty-six years ago.
Their wise argument usually sounds something like this:
"Back in 1984, Apple leapt way ahead in the PC market when it released the original Macintosh, the first popular computer to employ a graphical user interface. It took Microsoft six years to come up with something that could compare to the Mac, in the form of Windows 3.0. Six years! For all that time, Apple had the market to itself. Nevertheless, Windows took over the world and now holds more than 90 percent market share, while Apple squeaks by with less than 5 percent worldwide."
Actually those are the exact words used in a Newsweek column by the link baiting Dan Lyons, who ironically, masquerades as a parody of Steve Jobs in his popular blog. His words will sound ironic in a minute, so just hear me out.
On the surface, the comparison to Windows sounds not only prophetic, but if you believe the angst of the tech media at large, absolutely karmic. After all, Apple has been painted as the modern day Anti-Christ for their oppressive censorship of the App Store.
www.esarcasm.com/4212/apple-china-to-collectively-oppress...
Who better to bring us out of the darkness of iTunes than the "do-no-evil" Google? It sounds only natural, right?
Well, not exactly. There are at least three good reasons why the current situation with the iPhone and Android is nothing like 1984.
(1) Windows licensing is much more restrictive than Android licensing.
Much has been made of Google's licensing of Android to various cell phone manufacturers, inferring with it the promise of Microsoft-style world domination. Of course, there is a fundamental difference in the approach of Google and Microsoft. When you buy a Dell, you don't get a Dell user interface. You get Windows. When you buy a HP, you don't get a HP version of Windows, you get Windows. While Microsoft's Windows license is open in the sense that it doesn't restrict the installation of Windows on hardware, it does prevent PC manufacturers from modifying the underlying Windows foundation, and that restriction has had a positive affect on Windows app development.
In other words, when you code for Windows you know that the OS is going to be the same on all computers. When you code for Android, there is a different version for every phone (Android 1.5, 1.6 and 2.0), which means that when you write an app, you might have to debug for 3 different platforms. And even worse, Android is featured on different phone hardware and different cell phone carriers, who all dictate different features for their phones and want their phones integrated with their native services. Some companies, like HTC and Motorola, have even modified the user interface, firmware and internal ROMs, making Android compatibility a mess of epic proportions.
As our illustrious Dan Lyons admitted under the guise of his alter ego:
"Dear friends, this is only going to get worse, not better. Think about it. Every handset maker wants its device to be different. And special. So they intentionally tweak the OS to give themselves what they think of as an “advantage,” when really it’s nothing of the sort, because all it does is prevent ISVs from writing apps for them. Even if the handset makers weren’t totally short-sighted and evil, there’s the competency issue."
This brings me to another problem: what happens when all the Android partners start to compete with each other, if they aren't already? What company is willing to put money and development time into a unique app, only to have it stolen by another Android partner? Why insure compatibility when you can just as well make a modification that ensures the app only works on your Android phone? The implications of the "open" nature of Android is actually a hindrance to vibrant app development.
Currently, the App Store is the de facto standard for smartphones, whether the tech media wants to admit it or not. That may change in the coming future, assuming Google gets their act together, but developers tend to pick what they like at an early stage and stick with it, especially if they're making money. And as I've argued in the past, Android's ecosystem isn't exactly turning into Walmart right now.
www.flickr.com/photos/pacman3000/4127815088/
(2) Android has no equivalent of iTunes.
One of the most fundamental issues that tech reporters often leave out of their discussions about Windows is the reality of the situation with the Mac back in 1984. First of all, the Mac never had anything approaching the market share of the iPhone, which is currently at 17 percent worldwide. Furthermore, the forerunner of the Mac, the LISA, which featured the original graphical user interface, was an outright failure.
MS-DOS, the command line forerunner to Windows is actually the platform that garnered much of the original market share credited to Microsoft. The first two versions of Windows failed in the market. It was only after the release of Windows 3.0, with its native ability to run legacy DOS programs, that Windows became popular. In much the same way that the success of Windows was predicated upon the early success of MS-DOS, so it is with the iPhone.
In other words, iTunes is to the App Store as MS-DOS is to Windows.
(3) The iPhone is a premium phone without the premium pricing.
I think this doesn't need too much explanation, but the original Mac was sorta pricey. In fact, it was so pricey that Steve Jobs himself was pissed about it! If you know anything about the history of Apple, it was John Sculley, the Pepsi marketing genius that Jobs lured to the position of CEO, who jacked up the price of the original Mac. Apparently Sculley wanted to recoup the costs of an expensive marketing campaign (yes, that expensive 1.5 million 1984 Superbowl commercial). As a result, the Mac was relegated to niche status.*
This, however, isn't the case with the iPhone. Apple has vigorously lowered the price of the phone since the beginning, even going so far as to sell it at Walmart.
www.businessinsider.com/2009/2/99-iphone-coming-this-summer
So just to recap, I've established why Android licensing is nothing like Windows licensing. If anything, it has more in common with the platform on which it is based, Linux. Apple on the other hand, has broad appeal, thanks to the early success of iTunes (which resembles the DOS model), and the standardization of mobile apps because of the App Store (which resembles the eventual ascendance of Windows). And the iPhone, like early PCs, is reasonably priced.
So why is Android being compared to Windows again?
*Note: Mac sales were later revitalized by the introduction of the LaserWriter and Pagemaker, but in comparison to the mass adoption of DOS, that is a minor caveat in the scheme of things.
Related Links:
www.wired.com/gadgetlab/2009/11/android-fragmentation/
www.fakesteve.net/2009/11/developers-only-now-realizing-t...
www.russellbeattie.com/blog/android-is-splintering-just-n...
www.wirelessweek.com/Articles/2009/12/Android-Fragmentation/
HemeshGui is a graphical user interface I made for the excellent Hemesh library by Frederik Vanhoutte. HemeshGui can render shapes directly in Sunflow via Christopher Warnow's SunflowApiApi. These are some of the first things I made with it! ;-)
Blogpost: CreativeApplications
Source Code: Google Code
Screenshot of PosterGenius, a new software application specifically designed to allow you to create effective scientific, academic and engineering poster presentations quickly and easily.
I could use some help with this one.
This is a building at Bayfront Park in Hamilton that has attracted me for years; it has graphical appeal (circles, lines, oblique angles, etc.) but I couldn't figure out what I wanted to do with it. During the latest cold snap I decided to go out and shoot it.
I would appreciate any suggestions.
This version of the image has a judicious amount of Topaz Glow "Eternity" applied to it..
no graphical GROUP ICONS, INVITES, or AWARDS please (they will be [sadly] deleted) - just comments and critiques ---
please click here: www.flickr.com/photos/qmusaget/?details=1" to see HOW our streams should be preferably [or at least optionally] viewed ---
Unplug - balance - reconnect. Unter diesem Motto stand die erste "Reconnect" - realisiert von Offtime und simyo. Die Besucher der re:publica 14 konnten sich zu unserer hypervernetzten Welt austauschen, über die Vorteile vom gelegentlichem Abschalten sprechen, und uns und der Netzcommunity ihre Gedanken zum Thema on/off-line mitteilen. Diese hielten zwei Tage lang life in einem graphical recording fest!
Videodoku: www.youtube.com/watch?v=Ugn0pil2Ti8
The ISTAR-IUL Winter School 2018, Applied Transdisciplinary Research, took place at ISCTE-IUL from 5th-10th february 2018. Workshop 01 Graphical Abstracts, C1.03. istarwinterschool18.wordpress.com/program-2/
Ilustração de Maria João Oliveira.
Fotografia de Hugo Alexandre Cruz.
European vapor water weather
Wavelength sensitive to the content of water vapor in the atmosphere as complete source of graphical weather information.
Water vapor is extremely important to the weather and climate you can see in this sat map Europe, North Africa,including areas of cloud cover on,international satellite maps to see cloud cover and active weather patterns.
Sea surface temperatures have a large influence on climate and weather with geostationary satellite weather images of water vapor Water vapor, or water vapour or aqueous vapor, is the gaseous phase of water Molecular formula H2O.
In chemistry, the molar mass M is a physical property.As an example, the molar mass of water is approximately: M(H2O) ≈ 18 g⋅mol−1 Some elements are usually encountered as molecules, e.g. hydrogen (H
2), sulfur (S
8), chlorine (Cl
2). The molar mass of molecules of these elements is the molar mass of the atoms multiplied by the number of atoms in each molecule: gas equation:
pV = nRT\
where n is the amount of substance. The vapour density (ρ) is given by
\rho = {{nM}\over{V}}.\
Combining these two equations gives an expression for the molar mass in terms of the vapour density for conditions of known pressure and temperature.
M = {{RT\rho}\over{p}}\
The presence of water vapor has been detected in the atmospheres of Mercury, Venus, Earth (and Moon and water ice into pluto moons also jupiter and saturn moons
Plumes of water vapor have been detected on Europa moon of jupiter
water vapor detected on Enceladus moon of saturn.
Important part of the atmosphere,is defined due to its high-variability water vapor is a crucial parameter in short-term numerical weather prediction. is a critical variable for climate studies Rapidly Warming Europe temperature as the gaseous phase of water. It is one stage of the water cycle of our planet.Water vapor affect weather because, the sun evaporates the water to produce clouds, the wind then pushes the clouds.
Science
Graphical representation of the reconstructed 1918 flu virus' hemagglutinin.
1918 Flu was Bird-Human Hybrid
Scientific detectives have discovered an intriguing link between a virus that killed millions of people at the end of World War I and avian influenza. The groups determined the three-dimensional structure of a protein associated with the flu virus responsible for the devastating pandemic of 1918. They report online in ScienceExpress that the structure resembles that usually found in birds but with a slight alteration that makes it efficient at binding human cells.
In a typical year, the flu kills 36,000 Americans. But the 1918 outbreak caused over 500,000 deaths in the United States and more than 20 million worldwide.
Because they had not yet discovered viruses, scientists at the time could not understand why this flu strain caused so much devastation. Modern scientists who wanted to use new biological techniques to investigate the issue faced another difficulty: They had no stored samples of the viruses.
In recent years, molecular archeologists have overcome that obstacle by isolating genetic material from preserved lung biopsies and even from a body frozen in the Alaskan permafrost.
"It's exciting that we can look back in the past at one of the most devastating infectious disease outbreaks," says Ian Wilson.
Wilson lead a team at The Scripps Research Institute that used preserved tissues to explore a component of the 1918 flu virus known as the hemagglutinin protein. Hemagglutinin is part of the virus's surface that enables it to burrow inside host cells.
The Scripps team determined the genetic sequence of the 1918 hemagglutinin protein and then placed the code for that sequence in another type of virus to manufacture the protein. When they studied that protein's structure, they found strong similarities to a type found in flu strains that infect birds.
Different varieties of hemagglutinin exist, each binding to a slightly different type of host molecule. Wilson likened hemagglutinin to a key that allows the virus entry into only those cells with a compatible lock. For instance, hemagglutinins found primarily in strains of bird flu bind to molecules found mostly on birds' intestinal cells. Hemagglutinins from the strains that infect humans bind to a slightly different form of the molecule on the surfaces of human lung cells.
Birds are natural hosts to all flu strains. Humans, by contrast, are usually infected only by those strains that have adapted to recognize lung cells. In 1997, however, doctors found the first cases of an avian flu virus, called H5N1, in humans. In recent months the number of these cases has increased in Southeast Asia. The novel hemagluttinin associated with the virus makes it particularly lethal because people have no natural immunity to it.
Public health officials worry that the genes of the H5N1 virus will change to produce hemagluttinin structures more efficient at gaining entry to human cells. Scientists in the second research group, in London, have found that, while very similar to hemagglutinin of avian origins, the hemagglutinin protein from the 1918 epidemic had acquired just that ability. The reconstructed protein was able to bind to the type of molecule human lung cells. They surmise that the combination of a novel bird protein and an ability to infect human cells made the disease both deadly and fast spreading. Interestingly, only two amino acids confer these different binding abilities of hemagglutinin.
Thus far, the H5N1 virus doesn’t appear to have the binding ability that would make it spread quickly from human to human. But doctors are watching closely for any changes.
Got a bargain lens, the Sigma 17-70mm.
This is a variable aperture lens or so called consumer lens. It is less bulky than my 18-50mm F2.8 version.
But it got a farther reach and it fills the gap between 50mm and 70 mm before I move to 70-300mm zoom.
The consumer lens is also known as a snapshot lens because it is light and we usually shoot without the tripod.
We are more care-free on composition and just point and shoot anything in an improvised manner.
I was testing it in a very bright sunny afternoon. The light is a bit harsh and the contrast is not very good in the pictures. I want to test it more in other lighting conditions.
There is beauty in the mundane and ordinary all around us. This series began with photos of a sofa pillow. The fabric print on the pillows was eye catching because it was bold and graphical. The two original photos were taken at slightly different scales, distance or zoom staggered a bit. When the images were combined, the inherent colors, contrasts, and geometries in the print plus the difference in scale created beautiful complexity and new colors. The combinations were done by simple arithmetic transforms, such as average, lightest, darkest, difference, inversion (e.g. “lightest” means that a new image is created from two source images of the same pixel size by picking, for each pixel of the new image, whichever pixel of the two sources was the brightest; “darkest” means picking the darker of the two; “average” means averaging the two source pixels; “difference” means subtracting the two values, and so on). In this case, repeated transforms of that sort were done to manipulate and recombine pixels and colors until something pretty and compelling emerged. Of particular appeal to me in this version was the Arizona palette of colors: turquoise, azurite, sunset purple and pink, adobe and sand. Three versions of the pillow print mashup are shown, each with gradations of contrast and saturation. This image is now useful as a texture or graphical element to be combined with other images. As an example, the final image in this series is a mashup of the pillow print plus the image “Chile Aisle Art” presented elsewhere in this Photostream.
pillow print mashup _ contrast-3 _ (© 2014 megart)
Companion files:
pillow print _ v1 _ orig _ (© 2014 megart)
pillow print _ v2 _ orig _ (© 2014 megart)
pillow print mashup _ contrast-1 _ (© 2014 megart)
pillow print mashup _ contrast-2 _ (© 2014 megart)
pillow print mashup _ contrast-3 _ (© 2014 megart)
pillow & chili mashup _ (© 2014 megart)
Photo & Art Series 2
Sometimes, a photo by itself is boring or mundane, but it has an alternative life or message when combined with other imagery for an artistic reinterpretation. Sometimes a photo is not much of an image by itself, but it is a useful graphical element or resource that can be used to add textures, colors, or other enhancements to other photos or art. Sometimes a photo inspires new meanings or interpretations wherein artistic re-renderings of the photo can elevate it beyond its face value subject. In this series of images, photos have been combined, hashed, rehashed, and mashed up to make new art and images.
The ISTAR-IUL Winter School 2018, Applied Transdisciplinary Research, took place at ISCTE-IUL from 5th-10th february 2018. Workshop 01 Graphical Abstracts, C1.03. istarwinterschool18.wordpress.com/program-2/
Fotografia de Hugo Alexandre Cruz.
no graphical GROUP ICONS, INVITES, or AWARDS please (they will be [sadly] deleted) - just comments and critiques ---
please click here: www.flickr.com/photos/qmusaget/?details=1" to see HOW our streams should be preferably [or at least optionally] viewed ---
Unplug - balance - reconnect. Unter diesem Motto stand die erste "Reconnect" - realisiert von Offtime und simyo. Die Besucher der re:publica 14 konnten sich zu unserer hypervernetzten Welt austauschen, über die Vorteile vom gelegentlichem Abschalten sprechen, und uns und der Netzcommunity ihre Gedanken zum Thema on/off-line mitteilen. Diese hielten zwei Tage lang life in einem graphical recording fest!
Videodoku: www.youtube.com/watch?v=Ugn0pil2Ti8
The conditions were ideal, if not a little too warm, to explore the sedimentary rocks. No injuries today worth reporting.
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
Florida Web Design
Florida Website Design
Dallas Web Design
Dallas Website Design - you can use this image but if you do please give credit to florida web design.
Manufacturer: Carstens Tönnieshof, Freden a. d. Leine / Fredelsloh, Germany
Basemark: Manufacturer's mark (Twin-House) 514; GERMANY
Height: 25,5 cm
Decor: "Peking" = Yellow and cream-white speckled glaze with a graphical black lines decoration
Designer: ?
50s (ca. 1956/57)
Licensed under a creative commons share alike. Use freely but give attribution to Bariatric Solutions (a Dallas weight loss surgery center) and link to www.mybariatricsolutions.com
Screen Captures - Bariatric Solutions
Licensed under a creative commons share alike. Use freely but give attribution to Bariatric Solutions (a Dallas weight loss surgery center) and link to www.mybariatricsolutions.com
A graphical representation of a possible scenario for the landing and bouncing of Philae on 12th November on comet 67P. All the graphics are approximations and not to scale, just to illustrate the events as I am speculating they occurred. Credits: ESA/Rosetta/NAVCAM – CC BY-SA IGO 3.0
graphical drawing using collaged polaroid edges, showing the pathway of people who introduced me to someone in a different city.
Budapest Art Factory (BAF) is pleased to present to you SYN-Phon; sound performance based on graphical notation by Candaş Şişman featuring Barabás Lőrinc & Ölveti Mátyás. Candaş Şişman resided at BAF for the month of June as part of its cross-cultural fertilization residency program. SYN-Phon will be exhibited to act, as a visual linguistic delivery through a cogitation segment followed by the sound performance on June 29th.
Graphical notation and composition by Candas Sisman
Barabás Lőrinc: Trumpet
Ölveti Mátyás: Cello
Candas Sisman: Electronics and Objects
The earliest graphical illustration of miners in existence, a clay tablet of circa 575 BC, Corinth, Greece. In the State Museum Berlin
HemeshGui is a graphical user interface I made for the excellent Hemesh library by Frederik Vanhoutte. HemeshGui can render shapes directly in Sunflow via Christopher Warnow's SunflowApiApi. These are some of the first things I made with it! ;-)
Blogpost: CreativeApplications
Source Code: Google Code
Graphical Representation of Price Action aka Charting 101
Less is More: The Prettier it Looks the Powerful it is..
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looks like PLC at .02 centavos --> 2.28 in 2014 (+11,300%)
looks like MCP at .80 centavos --> 22 pesos in 2013 (+2,650%)
looks like DAVIN at .85 centavos -> 8 pesos Twice in 2013 (+840%)
looks like COSCO at .43 centavos --> 18 pesos in 2013 (+4,000%)
looks like BLOOM at .12 centavos--> 102 pesos in 2011 (84,900%)
looks like ION at .32 centavos --> 4.20 few moons ago (+1,200%)
looks like IS at .03 centavos ---> .82 in 2014 (+2,600%)
looks like LRW at .001 cent ---> 6.10 in 2014 (+600,000%)
looks like POPI at ..05 centavos ---> 2.54 in 2014 (+4,980%)
looks like MAXS at 8.0 pesos --> 90 pesos in 2014 (+1,000%)
looks like FNI at .04 centavos --> 4.20 in 2014 (+10,400%)
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♚ IMP: ..60 centavos --> 88.00 (+14,566%) in 1996 and 2000
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Looks like a good bet ... Don't you think so ?
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in a booming economy, mid small cap companies are
a target for takeover or acquisition such as this one..
rich in history and promising upside at current levels.
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in a bull run rising tide lifts all boats... this surely did some
obvious lifting ... Binondo Gents should be dazzling
maybe time to add more shares before a buy back program
or some bored Rich Kid like Leonard Pua starts owning the float or spread just like in IS at .1880 Wolfed all the way to .24 now spot.29
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value investing in the house of Sicat rewards those who buy
at the lows...
at 5 it was low . at 8 it was low at 10 it should be low
when it came from 85 - 60 - 55 and 45 ...
--
TEL at 100 pesos was at a low
TEL now 1900 not so low maybe 800 with or without succession plan
should be low when it came from 3,000 pesos
==
Wolves Sharks and Whales in the PSE <-- Creatures of Cycles
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Paint it like Picasso | Naked Trading <-- google this Milenyal Newbie
#SchoolOfFish #Investing101
--
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TIP: Check price of IMPB <-- angel foreign on board..
At least 3 religions represented here -- but a single cultural continuity, as seen in the continuity of graphical motifs.
Top left: "Samaritan house of worship, 6th century CE", Tel Aviv, exhibited in situ -- the museum is centered around the ancient tel (city mound) of Tel Aviv. The museum seems to be hedging its bets by using the generic term "house of worship" rather than "synagogue", as there is a flaming -- dare I say it? -- religious argument over the nature of the Samaritans, but they were essentially an ancient branch of Judaism.
Top center, top right: from probably a Christian monastery, 6th century CE, Bet Guvrin. These are the only ones here that depict animals; some Jewish and most Moslem traditions consider that to violate the prohibition against "making a graven image" (i.e., idol worship). But surrounding the pictorial panels are graphical designs very similar to those in the other mosaics.
Bottom left, bottom center: Synagogue, Tiberias (Tveria), 7th-8th century CE. Showing heavy Hellenization, this floor contains inscriptions in some variant of Greek, & the far left motif includes a Greek key design. But it also includes geometric designs very similar to those in the other mosaics. And the ritual objects depicted on the right will be instantly recognizable to modern Jews as a lulav (palm frond) and etrog (citron), used in celebrating the major harvest festival and religious holiday of Sukkot.
Bottom right: Mosque, Ramla (Ramallah), 8th century CE. The 6-pointed star is not particularly identified with the star of David (which wasn't even the iconic Jewish symbol until much later times -- Jews in ancient times would have used the 7-branched menorah).
These have been contrast-enhanced a little (some more, some less, depending on condition) -- just to brighten them up a bit closer to the original colors.
Posted at full res; view large size for more detail.
管樂雅集 - 薩克斯風妹 / 漂亮的冬冬是電腦美工高手 - 她的爵士和藝術畫出樂團的圖示
Wind instrument music elegant gathering - The sister of saxophone / The attractive DonDon is the computer art designing master - Her jazz and art draw the orchestra the graphical representation
Reunión elegante de la música del instrumento de viento-La hermana del saxofón / El DonDon atractivo es el arte de computadora que diseña el amo - Su jazz y arte dibujan a la orquesta la representación gráfica
管楽は風雅に集います - 薩克斯の風妹 / きれいな冬はコンピュータの美術スタッフ(仕事)の達人です - 彼女のジャズおよび芸術は楽団の求めることをかきだして示します
Elegante Versammlung der Windinstrument-Musik - Die Schwester des Saxophons / Das attraktive DonDon ist die Computerkunst, die Meister entwirft - Ihr Jazz und Kunst zeichnen das Orchester die grafische Darstellung
Tainan Taiwan / Tainan Taiwán / 台灣台南
如果將來有一個像冬冬的女兒一定很驕傲
Certainly very honor if the future have a daughter like Don Don
Ciertamente mismo honor si el futuro tiene una hija como Don Don
もし将来ひとつあって冬の娘のようならばきっととても誇らしいです
Zweifellos sehr Ehre, wenn die Zukunft eine Tochter wie Don Don hat
收到冬冬設計,黑管妹製作的樂團幸運娃娃,我很開心也很珍惜,我要自己欣賞哈~~
I Receives the Don Don design, The sister with a clarinet manufactures the orchestra lucky baby, I very happy also very much treasures, I want to appreciate for myself. Ha ~
I recibe el diseño de Don Don, la hermana con un clarinet fabrica al bebé afortunado de la orquesta, tesoros muy felices de I también mucho, yo quieren apreciar para me. Ha de ~
冬の設計を受け取って、クラリネットの妹の製作の楽団の幸運な子供、私はとても楽しくもとても大切にして、私は自分の称賛を要して~~をどなりつけます
I empfängt den Entwurf Don-Don, die Schwester mit einem Clarinet herstellt das glückliche Baby des Orchesters, i-sehr glückliche auch sehr viel Schätze, ich möchten für mich schätzen. Ha ~
--------------------------------------------------------------------------
其實我是黑管妹(愛睏仙)的粉絲
I am a fans of The sister with a clarinet
Soy los ventiladores de la hermana con un clarinet
私はクラリネットを持つ姉妹のファンである
Ich bin Ventilatoren der Schwester mit einem Clarinet
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光圈全開
The aperture all opens
La abertura toda se abre
開きはすべて開く
Alle Blendenöffnung öffnet
原圖JPG直出無後製
Original picture JPG is straight has no children the system
El JPG original del cuadro es recto no tiene ninguÌn niño el sistema
原図JPGはずっと跡継ぎがいなくてつくることを出します
Ursprünglicher Abbildung JPG ist hat keine Kinder das System gerade
本圖無合成無折射
This chart does not have the refraction without the synthesis
Esta carta no tiene la refracción sin la síntesis
当合成がないことを求めて屈折がありません
Dieses Diagramm hat die Brechung nicht ohne die Synthese
可用放大鏡開1:1原圖
The available magnifying glass opens 1:1 original picture
La lupa disponible abre el cuadro de la original del 1:1
利用できる拡大鏡は1:1の原物映像を開ける
Die vorhandene Lupe öffnet 1:1vorlagenabbildung
📍Dubai, United Arab Emirates (UAE) • Graphical Edit by @Northwaydstudio • Built by Fahad Abdul Hameed (@fahad_ucf, CEO of @UAELSCLUB) • WEDS Kranze Bazreia • www.threepiece.us/ • Body & Aero: Celsior MC Lexus LS430 / UCF30 + UCF31 Full AIMGAIN Body Kit VIP • www.aimgain.net/ • Youzealand SS Kit (Super Stroke Up) • www.youzealand.net/ • Toyota Celsior UCF30/UCF31 One Off Tail Lights • japanpartsservice.com/ • #StanceNation
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Industrial Design in Irvine, Patton Design has been providing software development, patent, graphical user interface, invention since 2005.
Manufacturer: Carstens Tönnieshof, Freden a. d. Leine / Fredelsloh, Germany
Basemark: Manufacturer's mark (Twin-House) 514; GERMANY
Height: 25,5 cm
Decor: "Peking" = Yellow and cream-white speckled glaze with a graphical black lines decoration
Designer: ?
50s (ca. 1956/57)
In this portfolio you will discover my art world. I have grouped together videos, various photographic projects and also a graphical aspect of my work.
At the moment I am working on my main source of inspiration, my family and the family unit, on both the cultural and attitude level.
Raymond Depardon began by photographing his mother and his pets. His idea of knowing how to begin using what is there and available has inspired me immensely. Moreover the relationship between individuals has always fascinated me and in my work, I closely observe the family heritage and the influence that it can have on our personal sense of being.
In this project I develop historical memory and the danger of disappearance by using, as the main protagonist, the face, thanks to a combination of different mediums. Carmen Calvo has been an important source of inspiration in my work by the way she treats different mediums through his sensitivity for our cultural heritage as well as her work on memory.
I have also developed a different universe in my videos, concentrating on the relationship between man and objects or environments. My inspiration came from Robin Rhodes who works with the earth and his surroundings, his chalk sketches to which he adds a human presence. I made a video in which an individual draws his path with chalk, searching for a way through or maybe searching for his inner self? Is he lost in a common environment or is it a metaphor for the search for personal identity? Another video shows a man who has an extremely close relationship with an everyday object, the car. The object becomes sacred through his emotionally charged gestures towards it.
These projects allow us to reflect on the environment in which we evolve, the increasing importance of objects but also, in opposition, the family heritage.
The new graphical user interface for autopsy only runs on Windows, but can be run using wine. In order to get it to work you need to install java jre 1.6 or higher in wine, and then download autopsy and tsk. Then just run autopsy.exe from the Ubuntu GUI, opening with Wine. (Seems like it is best to configure this app for Win7). You will need openGLX on your Ubuntu.
Researchers at Pacific Northwest National Laboratory are developing large-scale, dynamic probabilistic graphical model capabilities to prevent hackers from attacking important and potentially vulnerable computer resources. The work, funded through PNNL’s High-Performance Data Analytics program, involves development of algorithms that map a computer network’s vulnerabilities and associated attack paths, and engage high-performance computing to create a graphical representation. The effort also is creating capabilities to visually display the information in an easy-to-use format. For example, in the image, the colored paths show a computer network’s potential attack vectors that share a sequence of common vulnerabilities. Ultimately, the goal is to provide computer network and cyber security analysts with the information they need to proactively protect computing resources.
Research team members: Vivek Datla and Sherman Beus of PNNL’s Physical and Computational Sciences Directorate, George Chin and Patrick Paulson of PNNL’s National Security Directorate, and Dennis Thomas of PNNL’s Earth and Biological Sciences Directorate.
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory." Please use provided caption information for use in appropriate context.