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This old silo is all that remains of an old farm stead. I assume that there was once a barn by the silo.

 

119 Pictures in 2019 - Theme No. 59 - Isolated Object

I don't know what it is

This is what my "object"/percussion setup in BWO usually looks like: Microphone, Kaoss Pad, 3 Jews Harps, Stylophone, Vibrator, Masking Tape, Bird Calls, Kalimba, Saxoflute, Hotel Bell, Balloons, Chopsticks, Ratchets, Popcorn Shaker, and assorted metal percussion. The mask, wind-up teeth, and dinosaur cookie cutter are all visual cues which, when selected, move the improvised music forward into a new direction.

Technical Details

15 Seconds, Aperture: f/5.6, Focal Length: 20 mm, ISO Speed: 200

Nikon D90, Sigma 10mm-20mm f/4-5.6 EX DC HSM with Tiffen Digital HT color graduated ND .6 filter.

 

© Camilo Bonilla. All Rights Reserved. No usage allowed including copying or sharing without written permission.

Object texture in its new home_San Francisco, California.

Brand new camera means lots more stuff goes in the lightbox!

glass art object at an outdoor exposition of glass art at Kijkduin near the North Sea The Netherlands

Entry in category 1. Object of study; © CC-BY-NC-ND: Andrei Jipa

 

Cutting edge concrete. Cutting the amount of concrete used in buildings by 70%. Cutting a section through a hybrid optimized concrete slab prototype highlighting how little concrete is actually needed for the structural integrity of a building. The dark grey material is regular polystyrene replacing structurally redundant concrete parts. This redundancy is only due to the limitation of conventional building methods. With digital fabrication we can now produce intricate optimized shapes at no additional cost. Reducing the amount of cement used in buildings can have a significant positive impact on sustainability and embodied energy of buildings.

17mm Tilt Shift; f/4; 1/4”; ISO100

 

Part of the Roundhouse Rising festival

Lets try flickr since facefuck is effing around with my posts on orbiting space objects . how dare i.

I have not taken an image of this type of object in a while

the color is true and again the only thing done was enlarging cropping and a little brightness reduction and contrast .

the following image was done the same but inverted which sometimes brings features within the object but never shows a color change to this degree .

Messing 2014-17x6,5x6,5 cm.

a depiction of our desire for material goods- there's always just one more item out of reach, and once we get it, we feel that we will be complete. But once we grab it, we forget its value as we just want another object. Our quest for happiness must be fulfilled in another way

Twins in the mirror.

A hanging object in the ride section.

 

Unknown object.

Anyone who has a clue as to what this is, please let me know.

Shaking and grinning like a twisted calcobrena,

this farce provokes our mocking

so it won't be real.

Macro photography experimentation

This figure depicts a man on one side and a woman on the other, reflecting the importance of duality in the Andean world view.

Inka double-sided figurine. AD 1470–1532. Lima, Peru. Silver-copper alloy. 9.9 × 6.8 × 3.5 cm. 19/9105. Photo by Ernest Amoroso, National Museum of the American Indian, Smithsonian Institution

 

Images and captions from The Great Inka Road: Engineering an Empire, edited by Ramiro Matos Mendieta and José Barreiro. Published by the Smithsonian’s National Museum of the American Indian in association with Smithsonian Books. © 2015 Smithsonian Institution

 

This aquilla is a special type of cup made specifically for a’qa (also known as chicha, or maize beer). The carved face and prominent beak are reminiscent of a condor.

Inka aquilla (cup), AD 1470–1532. Cusco region, Peru. Silver. 29.1 × 10.2 cm. 16/9875. Photo by Ernest Amoroso, National Museum of the American Indian, Smithsonian Institution

 

Images and captions from The Great Inka Road: Engineering an Empire, edited by Ramiro Matos Mendieta and José Barreiro. Published by the Smithsonian’s National Museum of the American Indian in association with Smithsonian Books. © 2015 Smithsonian Institution

 

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