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When they reached the middle of the forest the father told the children to collect wood to make a fire to keep them warm; and Hansel and Gretel gathered brushwood enough for a little mountain; and it was set on fire, and when the flame was burning quite high the wife said, “Now lie down by the f...
GAO Xiaowu Joyce HO
Joint-Exhibition
550D+EF 40mm F2.8 STM
Museum of Contemporary Art, Shanghai
06/11/2013
Introduction to IAEA and Safeguards, event organized by the Department of Safeguards held at the Agency headquarters in Vienna, Austria. 9 July 2024
Photo Credit: Dean Calma / IAEA
This 1829 drawing by Christophe Civeton, depicting the intersection between Rue Saint-Denis and Rue du Faubourg Saint-Denis, at the Porte Saint-Denis in Paris, expresses some of the vast new array of structures and visual stimuli that suddenly confronted the urban dweller in the first half of the 19th century. Unlike pre-modern cities, which existed to some degree outside the realm of government and expert knowledge, and which were more or less shaped by the people who inhabited them, these new spaces were infused with and created by large external structures. New types of government inserted itself into the fabric of the city in the form of post offices, ship yards, parks and boulevards; technology introduced factories, commodities, and new modes of transportation; and the overwhelming influx of external populations created an environment of strangers. On the one hand, all three of these changes drew invisible boundaries between urban dwellers. New political forms and technological needs meant that different classes and genders living in the same region could really see and inhabit vastly different cities. On the other hand, these three changes also accompanied an explosion of new and accessible visual data: public works, parks, shops, products, shadow displays, panoramic views and an endless sea of strange bodies. Faced at once with invisible boundaries between people and increased visibility of political forces, optical technologies and flashy commodities, it is no wonder that inhabitants of 19th century became so fascinated with visuality. In order to investigate the ways in which this visual interest is created and channeled by the built environment, I will examine the structure and development of the Porte Saint-Denis in Paris. What kinds of new visual forms confront the inhabitant? What kinds of relationships - to space and to other people - do those forms foster? In what way does display compensate for the loss of interaction and community, and help to create a sense of identity? And, in the end, what kinds of identities are displayed?
IMAGE: found on Europeana, from the Gallica library. Drawing, 1829. Christophe Civeton (197601831). "Boulevard et Porte Saint-Denis"
Santa Clara, CA - January 8, 2020: Mission Saints Basketball vs Galivan College at Mission College. Galivan won 76-65.
The St. Louis Cardinals and San Francisco Giants line up before Game 1 of the 2012 National League Championship Series. AT&T Park, San Francisco, California.
Today we put all different types of decoys out in the yard to begin to familiarize Trudi with them...goose silhouettes, goose shells, ducks....she took it all in stride and gave each one a good chew!
Charles Macnamara lived in Arnprior from 1881 to 1944, and worked as secretary-treasurer for the McLachlin Bros. At one point in Macnamara's life he became quite interested in the 16th century explorer and soldier, Samuel de Champlain. He conducted comprehensive research using his own correspondence with others, his interviews and knowledge of the Ottawa Valley to complete articles, such as "Champlain as a Naturalist" and "Champlain's Astrolabe".
In 1919 Charles Macnamara was brought to the astrolabe site by E.D. Lee who found the astrolabe in 1867. Charles took many of these photos on that trip.
It is interesting that in the years following Macnamara’s Champlain articles, the erection of a monument to Champlain on Chats Lake was discussed by Arnprior council. This is documented in the Arnprior Chronicle of January 13, 1928.
About The Exhibit
Included in this set of images are photos from one of Macnamara's scrapbooks. The map of Champlain’s route is not part of the scrapbook; however it is included in this display to show Macnamara’s interest in Champlain’s precise travels and his knowledge of the Ottawa Valley. Also the image of Macnamara himself is from another scrapbook and is included to provide a short biography. The last three images are in the order that Macnamara included them in his scrap book. The first of these three puts the area around the site into context, the next images move incrementally closer showing further details of where the astrolabe was found.
Macnamara’s photos have all been scanned from glass plate negatives. Around the side of each photo the emulsion's edge is still visible and is a reminder of the medium used by Macnamara.
-Ryan Tobalt (AMBA 2013 Summer Student)
The Real Hong Kong Car Culture
Hong Kong Car | Automotive Photography since 2011
For a detailed introduction | guide on Hong Kong Car Licence Plates | Car Vanity Plates click on the link below to learn more :
✚ www.j3consultantshongkong.com/hk-car-vanity-plates
One of the largest collections of quality Hong Kong Car Images and specialising in Car Licence Plates | Car Vanity Plates or as the Hong Kong Government likes to call them - Vehicle Registration Marks
I photograph all car brands and please do bear in mind I am an enthusiastic amateur and NOT a professional photographer but I do have a fairly distinctive style and it has got better over the years.
☛.... and if you want to read about my views on Hong Kong, then go to my blog, link is shown below, I have lived in Hong Kong for over 50 years!
✚ www.j3consultantshongkong.com/j3c-blog
☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!
Dated 13-07-2007
Latitude Festival, Southwold, Suffolk
Futureshorts at the Music and Film Tent
Introducing Chamelion Collective