View allAll Photos Tagged Overwrite
Monkey spent five minutes rubbing against my Birkenstocks clogs -- possibly trying to overwrite the scent-signature of Miss Elizabeth.
Old home, Highway 1 at the Langdon turnoff.
I shot this very soon after having got my first DSLR - Canon 40D. This was a first attempt at HDR, so rough as all hxxl for sure. I like the scene though.
This is also back in the day when I was using Picasa to edit, so again, pretty rough. I didn't know what I was doing file-management-wise, so I overwrote my originals in this series, so can't go back and edit this image in my pro editing software... At the time, Picasa would overwrite if the user wasn't paying attention and using "Save as" rather than just "Save," or "Save a copy." So yeah...
After Juan Cabrillo's 1542 discovery of Alta California, the Spanish government ignored the area for decades. In 1601, Sebastián Vizcaíno was assigned to map the California coastline for establishing safe harbors for the treasure galleons returning from the Philippines. In 1602 Vizcaíno reached California and began mapping the coast, in the process overwriting most of the names given by Cabrillo-including San Miguel Bay, now named San Diego Bay. While his expedition attracted interest in colonizing California, the plans ultimately fell through and nothing more was done for 167 years.
In 1741, Vitus Bering had extended the Russian claim to Alaska, and the Tsar obviously had interests in colonization on the Pacific coast. Suddenly aware of the threat, the Spanish crown under Philip V decided to secure California under his control, in 1769 sending Junípero Serra and Gaspar de Portolà to establish a chain of missions and presidios to guard against the encroaching Russians. The initial targets were to be at San Diego Bay, and at Monterey, as mapped by Cabrillo and Vizcaíno. Two overland expeditions were launched, which were to be supplied by packet ships. Progress was difficult, and many of the overland expeditions fell to sickness while a majority of the seaborne crew succumbed to scurvy. Nevertheless the expedition reached San Diego on June 29. While Portolà continued to Monterey, Junípero Serra established Mission San Diego de Alcalá here atop Presidio Hill on July 16, 1769, the first permanent Anglo settlement in California.
The settlement quickly ran into difficulty. Built atop Presidio Hill (or Kosoi in Kumeyaay), the settlement was defensible, driving off an attack by the Kumeyaay within a month, but had limited access to water and converts. By 1770, food had run low, 19 people had died from scurvy, and there were no converts, so that Serra decided to abandon the settlement if no supplies arrived by St. Joseph's Day (March 19). Just before sunset on the 19th, the San Antonio arrived with the needed supplies. The first permanent buildings were soon built. In 1773 the first Christian burial was preformed here, but the settlement's days were numbered. Only a year later all but the fort were abandoned and the mission moved to a new site near a creek.
The fort, which was built in response to the 1769 attack that killed one and wounded four, housed two cannon, one pointed at the Kumeyaay village. By 1783 54 soldiers were stationed here. The presidio fell under Mexican control in 1822, becoming the Mexican governor's residence in 1825. The presidio was abandoned in 1835 as the settlement moved to establish Old Town, and the buildings quickly fell into ruin. In 1848 Presidio Hill was briefly used by the Californios to seize San Diego during the Mexican-American War, then later occupied by the Mormon Battalion.
In 1907 George Marston, a wealthy department store owner, purchased the hill, hoping to preserve it. However finding no interest, he erected the Junipero Serra Museum in 1929 for the San Diego Historical Society (now the San Diego History Center). The park was donated to San Diego the same year. No buildings remain of the early settlements, though the museum preserves some artifacts and the foundations of the first Anglo settlement was occasionally excavated.
Old Town, San Diego, California
There is an unwritten rule among street artists that says it is disrespectful to overwrite another artist’s work. The reality is somewhat different. Competition for (derelict) space is keen among street artists. To then find the metaphysical musing still up on the side of Tacheles was a rare thing.
In a world where such things have a transitory and uncertain fate, it is possibly the most well known and remarkably resilient piece of street art. We’re talking about the philosophical mural, “How long is now”, on the side of Kunsthaus Tacheles.
The building, a relic from the past, overlooks the corner of Oranienburger Straße and Friedrichstraße. Once a Mecca for artists from all over the world, Tacheles is now closed, its own future under a cloud. The last of the artist squatters vacated the five-storey building in 2012 ending twenty years of occupation.
The question, “How long is now”, began life as a light installation in 1997 in a Tacheles Werkshau by FILOART, a group founded in 1984. From its beginnings as a “black cube from which letters of light” emanated onto interior and exterior walls, the artwork was displayed at the Art House Tacheles in 2000. It then travelled to the Kosovo National Art Gallery in Pristina in 2001. It was shown again in 2004 at Galerie 35 at Simon-Dach-Straße in Berlin.
In 2006, the work returned to its place of birth, Kunsthaus Tacheles, not as a light installation but as a mural on the eastside wall. Ten years after that, I stood in front of it and took a picture. Three short years later, we learned the answer to the question. The mural was finally covered in 2019.
PhotoELF Edits:.
2016:05:24 --- Save - Overwrite --- bright-contrast-color.
2016:05:24 --- Save - Overwrite --- bright-contrast-color
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are no real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
overwrite random string with "75 6E 20 65 6C 65 66 61 6E 74 65 20 73 65 20 62 61 6C 61 6E 63 65 61 62 61"hex
Los Angeles, CA, January 12, 2008 -
Phantom Galleries LA has become known for transforming unsightly empty storefronts into vibrant and culturally exciting art experiences from Beverly Hills to Pasadena. PGLA is proud to announce a partnership with the Long Beach Redevelopment Agency in presenting their inaugural Long Beach exhibit, Susan Chorpenning's window installation "Fiat Lux III." Curated by Dangerous Curve.
Location: 248 Pine Ave, Long Beach, CA 90802
Exhibit runs: January 12 to March 12, 2008.
Viewable 24/7 with optimal viewing hours between 5 pm - 1 am.
Gallery Hours by appointment only.
Reception for the artist TBA.
"Fiat Lux" means "Let There be Light." Chorpenning means to light up
the darkest days and longest nights of the year. If you've not seen
one of Susan Chorpenning's twinkling light window displays, you've not
had a true urban winter-wonderland experience! Her last PGLA
installation, "Fiat Lux II," was like a holiday mega-display, with the
lights painstakingly intertwined and loaded on until they filled the
whole window. From afar, the window seemed to hover in front of its
pane of glass. Up close, one's whole field of vision was engulfed.
The effect was invigorating exuberance.
"Fiat Lux III" is more subdued than was "Fiat Lux 2," its lights
restrained (if only slightly) and elegant. It fills the two windows to the left and
right of the location's main doorway. The walls are painted
bright colors with added blocks of color behind some light elements. These light elements come in a variety of shapes and sizes, such as twinkling globes, mini-lava lamps, colored compact fluorescents, and tiny, twinkling, multicolored lights mounted on frames. Using stretcher bars throughout - but instead of being the structure for paintings, they are the structure for lights - eg. strings of lights wrapped around the stretcher bars, and variations on this theme. These "frames" are the most recurrent image in the piece. More subtle it is, but indeed still a beautiful sensory enterprise.
More about the Artist
Chorpenning suechor/myhomepage/index.html
is from Altadena, via New York and Europe. She has had numerous solo
shows and siteworks in galleries and museums, nationally in New York,
the San Francisco Bay Area, Texas, and internationally in Paris,
France, and Germany. She has performed to rave reviews at Dixon
Place, The Knitting Factory, BACA, The Painted Bride, and Claremont
College.
Among other things, Chorpenning does so-called "dark rooms," chairs
with flash units and light-sensitive rocks. All these
things use afterimages (from phosphorescent paint or flash units that
leave traces on one's retina to mimic memory perceptions. The "memories" can build up and overlap, and sometimes interact and overwrite each other.
Chorpenning's solo show at Dangerous Curve in 2004 was one of her
"light room" installations. In these, she uses paint on walls and
floors to record "memories" of constantly moving sunlight streaming in
through doors, windows, and skylights throughout a given day. All
Chorpenning's past light rooms have been records of sunlight as it
actually came into the rooms, but in "February Thirtieth," the
sunlight was completely fabricated for a completely fabricated day.
Chorpenning has noted that light traces left from another part of a
day can have a surprising psychological effect, causing the viewer to
perceive enhanced brightness in a room without really understanding
why. Imagine the effect in a room that, facing north, doesn't have any
direct sunlight at all. The space at Dangerous Curve is such a room,
and the effect of Chorpenning's multicolored trace records was
profound.
More about the Presenters
Phantom Galleries LA PhantomGalleriesLA.com is a Los Angeles County based organization that transforms properties in transition into 24/7 public art galleries. Each installation is a unique relationship between the participating Artist, Curator, and Property Owner. Exhibits are curated by local Arts Organizations, Galleries, Independent Curators, and Artists. The project gives local artists an opportunity to exhibit their work, while fostering economic development by drawing attention to available retail space. PGLA promotes the creative communities of Los Angeles to a broader audience and encourages the appreciation and participation in the arts among community members and organizations creating a win/ win situation that benefits the entire community as a whole. Art is a necessary part of everyday life.
Dangerous Curve dangerouscurve.org is a leading
contemporary art space in the Arts District of Los Angeles that
supports risky and intelligent work that's ahead of the curve.
The Long Beach Redevelopment Agency works to build a better Long Beach. For more information about Long Beach contact: rda.longbeach.gov
It had closest focus distance of 25mm or 0.8 feet. (another pro!)
It both features aperture ring and focus ring. Aperture ring turns counterclockwise at 90 degrees from f/2-2.8-4-5.6-8-11-16-22. One con is that the aperture ring didn't have half stops except between f/11 to f/22.
Focus ring turns clockwise from 0.25-0.3-0.4-0.5-0.7-1-2-4-infinity (in metres). The pathway of focus is extremely long, about 180 degrees. There is only 2 clicks at both ends of focus path. The focus ring is extremely smooth like my trustworthy Canon EF-S 18-135mm IS STM. Turning the focusing ring requires gentle force, which is good to maintain focus distance without risking unnecessary focus overwrite .
The barrel of the lens do extend. Its lengths is shortest at infinity, longest at 25mm focus mark.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
07.11.2010
For November's Monthly Scavenger Hunt.
Well it's pretty tragic for the oyster. I had two edits but managed to overwrite the colour one so you get b&w.
Busy busy, awful weather, felt like I had a stinker of a cold yesterday and the weather is awful! I'm off to book group shortly, I hope the dryness holds out for a few more hours before that storm comes back.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in the RGB color space.
There are no real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
here is the finished module using a proto PCB. works quite fine!
it basically is a 4017 based step sequencer providing CV out, Trigger out, and Gate out. the tricky part is the voltage control of the possible patterns: an incoming CV gets manually scaled to 0-5V (LEDs will help to do that), and then gets processed by a 8-bit ADC. the parallel out gets converted to grey code and switches the steps/stages of the sequencer on or off. they can be controlled manually too, by using the toggle switches that overwrite the ADC data...
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in the RGB color space.
There are no real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
...z lukášova auta=)To když jednou přijel na ICF "svym autem" (škodovka, která se asi hodila víc na vrakoviště než na silnici, a kterou mu někdo dal na zkoušku, že by mu jí kdyžtak "prodal" jen za 800, který stojí přepsání v katastru) Ale stav auta mi nevadil, spíš mi udělal fakt radost, protože většina majitelů pěknejch novejch aut(i když jsou to kamarádi) mi bez problému neodkejve to, že mužu skákat ze střechy jejich auta backflipy=) Bohužel foták s malou čočkou a špatnym bleskem, takže jediný co se podařilo je tahle fotka, ze který by asi nikdo nepoznal že jde o backflip, kdyby to nad ní nebylo napsaný...
Blured backflip motion
...from Lukas car=) Once he came to ICF in his "own car" (old škoda, which I think would be more suitable to be on car cemetery then on the road. Someone offered this car to him for only 800czk, which you have to pay to overwrite owner in register).But condition of this car didnt obstruct mebut conversely I was glad for it, because most of car owners in my surrounding with their nice new cars a usually dont let me to jump backflip form the roof of their cars.Unfortunately we had just small digital camera with bad flashlight, so this is the best quality photo we managed to take...Can you recognize that it is backflip?
Taken by Míša
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
Los Angeles, CA, January 12, 2008 -
Phantom Galleries LA has become known for transforming unsightly empty storefronts into vibrant and culturally exciting art experiences from Beverly Hills to Pasadena. PGLA is proud to announce a partnership with the Long Beach Redevelopment Agency in presenting their inaugural Long Beach exhibit, Susan Chorpenning's window installation "Fiat Lux III." Curated by Dangerous Curve.
Location: 248 Pine Ave, Long Beach, CA 90802
Exhibit runs: January 12 to March 12, 2008.
Viewable 24/7 with optimal viewing hours between 5 pm - 1 am.
Gallery Hours by appointment only.
Reception for the artist TBA.
"Fiat Lux" means "Let There be Light." Chorpenning means to light up
the darkest days and longest nights of the year. If you've not seen
one of Susan Chorpenning's twinkling light window displays, you've not
had a true urban winter-wonderland experience! Her last PGLA
installation, "Fiat Lux II," was like a holiday mega-display, with the
lights painstakingly intertwined and loaded on until they filled the
whole window. From afar, the window seemed to hover in front of its
pane of glass. Up close, one's whole field of vision was engulfed.
The effect was invigorating exuberance.
"Fiat Lux III" is more subdued than was "Fiat Lux 2," its lights
restrained (if only slightly) and elegant. It fills the two windows to the left and
right of the location's main doorway. The walls are painted
bright colors with added blocks of color behind some light elements. These light elements come in a variety of shapes and sizes, such as twinkling globes, mini-lava lamps, colored compact fluorescents, and tiny, twinkling, multicolored lights mounted on frames. Using stretcher bars throughout - but instead of being the structure for paintings, they are the structure for lights - eg. strings of lights wrapped around the stretcher bars, and variations on this theme. These "frames" are the most recurrent image in the piece. More subtle it is, but indeed still a beautiful sensory enterprise.
More about the Artist
Chorpenning suechor/myhomepage/index.html
is from Altadena, via New York and Europe. She has had numerous solo
shows and siteworks in galleries and museums, nationally in New York,
the San Francisco Bay Area, Texas, and internationally in Paris,
France, and Germany. She has performed to rave reviews at Dixon
Place, The Knitting Factory, BACA, The Painted Bride, and Claremont
College.
Among other things, Chorpenning does so-called "dark rooms," chairs
with flash units and light-sensitive rocks. All these
things use afterimages (from phosphorescent paint or flash units that
leave traces on one's retina to mimic memory perceptions. The "memories" can build up and overlap, and sometimes interact and overwrite each other.
Chorpenning's solo show at Dangerous Curve in 2004 was one of her
"light room" installations. In these, she uses paint on walls and
floors to record "memories" of constantly moving sunlight streaming in
through doors, windows, and skylights throughout a given day. All
Chorpenning's past light rooms have been records of sunlight as it
actually came into the rooms, but in "February Thirtieth," the
sunlight was completely fabricated for a completely fabricated day.
Chorpenning has noted that light traces left from another part of a
day can have a surprising psychological effect, causing the viewer to
perceive enhanced brightness in a room without really understanding
why. Imagine the effect in a room that, facing north, doesn't have any
direct sunlight at all. The space at Dangerous Curve is such a room,
and the effect of Chorpenning's multicolored trace records was
profound.
More about the Presenters
Phantom Galleries LA PhantomGalleriesLA.com is a Los Angeles County based organization that transforms properties in transition into 24/7 public art galleries. Each installation is a unique relationship between the participating Artist, Curator, and Property Owner. Exhibits are curated by local Arts Organizations, Galleries, Independent Curators, and Artists. The project gives local artists an opportunity to exhibit their work, while fostering economic development by drawing attention to available retail space. PGLA promotes the creative communities of Los Angeles to a broader audience and encourages the appreciation and participation in the arts among community members and organizations creating a win/ win situation that benefits the entire community as a whole. Art is a necessary part of everyday life.
Dangerous Curve dangerouscurve.org is a leading
contemporary art space in the Arts District of Los Angeles that
supports risky and intelligent work that's ahead of the curve.
The Long Beach Redevelopment Agency works to build a better Long Beach. For more information about Long Beach contact: rda.longbeach.gov
photo by american image gallery
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in the RGB color space.
There are no real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
Amazingly enough, after the horrible experience I had, I would gladly walk into Stan's Blue Note again, but then, there were good memories in that place long before my date with the Sociopath tried to overwrite them. Let's just say I didn't realize anyone could have that disgusting requirement as a first-date non-negogiable. I'm so glad I stood my ground-- I hope at least one other unfortunate girl has done the same.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A story of Judicial Corruption of The court of Bangladesh at Comilla Judicial Magistrate Court:- In this story I described the corruption activities of two Judicial Magistrates corruptions. One of them is The Chief Judicial Magistrate Named FATAMA NAJIB & the is The Additional Chief Judicial Magistrate Named Md. Rafiqul Islam. I discover their corruption from the 2 cases which were in their court. These 2 cases are GR-792-07 & another is CR-Case-No-692-08. In the above named cases the corruption activities of them is as following:-
The corruption & injustice of the GR-Case-792-07:- The informant of this case is Advocate Salahuddin Ahmed of Comilla District Bar Association & the Accused Advocate Kamrul Hayat Khan former Secretary of Comilla Bar Association. In the period of police investigation of this case the accused played a role of violence with the HARTAL and ultimatum of stop the court duty. Hence the police submitted the police report as Final Report False according to the previous written ultimatum. Than I filed an NARAJI Application against the police report. But the chief judicial magistrate named FATAMA NAJIB involved with the accused party for deprives me from the legal justice. As a result she did not pass any order of hearing date of the case against the Naraji application. She passed an order on 27-01-2008 as “The case will hearing on next”. But with out passing any order of next date she rejected the Naraji application by writing a false statement on 28-01-08. After a minutes I became to know about this and I presented before the chief judicial magistrate and request to her for restrain the earlier order. She reply to me that she can’t do that because the section 369 of the code of criminal procedure 1898 is Bar to do such. More over she told me to go session judge court for revision. Than I collected a set of photo copy of all order sheet of the GR-792-07 cases.
But after a few months I applied for certify copy the order sheet on 30-07-2009. When she became to know about my application she tempered the previous order sheet of 27-01-08 and overwrite on the word “ the case” and substitute the word “tomorrow.”
More over she never published any fixed date for hearing the case.
On the other hand she altar her pervious attitudes and enjoyed ultra virus power in the CR-Case-No-692-08. In this case we can see over the order sheet that the case was closed on 30-12-2008 under section 247 of the code of criminal procedure 1898. After 65 day of closing the case the additional chief judicial magistrate of comilla named Md. Rafiqul Islam proposed for bribe money to give bail an accused by a bench Clark named HARADAN KARMAKAR. But I denied giving any bribe money for getting bail of an accused from his court. As a Result he communicated with the chief judicial magistrate in view of take revenge of denying his proposal of bribe money. Hence the CR-692/08 case revived with illegally, intentionally by their ultra virus power which was dismissed on 30/12/2008. Though they have no power or jurisdiction to revive any case which dismissed under section 247 of the code of criminal procedure 1898. If any party of such case being aggrieved; he can appeal in the session judge court under section 417 (2) of the code of criminal procedure 1898. If he aggrieves with the aforesaid appeal judgments; he can file revision in the High court 439 of the code of criminal procedure 1898. But if he does not file appeal under section 417(2) of the code of criminal procedure 1898 ; he will never can get any benefit of the section 439. If the aggrieved party does not file any appeal with in 60 day there is no court can admit any appeal application with out the order of Hon’ble High Court.
But when I filed petition for true copy of that case she rejected my petition and decided to change the previous all order sheets of the 30/12/2008. When I became to know about her ill-motive I took image of all order sheets of the case by a mobile camera. Than I printed out from the mobile camera of those image of order sheets.
After that I filed a criminal revision case in the session judge court of comilla as Criminal Revision case No-194/09 on 08/07/09 with those image order sheets of the CR-692/08 cases. On that date the session judge directed to the chief judicial magistrate and passed an order for issue certify copy of all the order sheets of the CR-692/08 case before 29/07/2009. But the chief judicial Magistrate dishonored the session judge’s order which passed on 08/07/2009. But the session judge did not take any action against the chief judicial magistrate for dishonoring the order of upper court.
IS THE NATURE OF JUDICIAL SECTOR? IF THE JUDGE DOES NOT HONOUR THE LAW HOW DOES THE OTHER PUBLIC CAN HONOUR THE RULE OF LAW? IF YOU WANT TO BE RESPECTED BY OTHER YOU SHOULD RESPECT TO ANOTHER.
Drive Type: Internal DVD+/-RW Dual Layer Drive
Write:DVD+R/-R: 24X DVD+RW/-RW: 8X/6X DVD+R/-R DL: 12X
Read:DVD+R/-R(Single): 16X DVD+R/-R DL: 12X DVD+RW/-RW(Single): 12X
DVD-R & DVD-R(DL): DAO/Incremental Recording
DVD-RW: DAO/Restricted Overwriting/Incremental Recording
Allows you to permanently delete the data on rewritable discs
CD-R/RW: DAO/TAO/SAO/Packet Write
© 2010 by The Atlanta Journal-Constitution
Al Duke (left) watches as actress Pam Grier signs two record albums that he brought to Overwrite Bookstore on Wednesday, June 16, 2010. The albums Duke brought were Grier's records "Coffy" (1973) and "Foxy Brown" (1974).
Actress and singer Pam Grier authored a memoir titled "Foxy: My Life in Three Acts." Grier's big debut was as the lead in "Foxy Brown," a 1970s movie in the blaxpoitation genre, and she has since starred in the popular series "The L Word." She answered questions and signed copies of her book for a large gathering in the LGBT store Outwrite Books.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in the RGB color space.
There are no real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
David Coleman, a TED-speaker had a lecture this Monday at the University in Szeged, Hungary. I attended the lecture and made notes in mixed languages, see below. It was really interesting, although did not contain too much surprising information - it was a great reminder of how we should show example as laeders at our workplace.
Hétfő este elmentem a szegedi GTK-ra egy előadásra, amit David Coleman tartott, egy TED-előadó, arról, hogy hogyan lelkesíthetőek a beosztottaink a munkahelyen és hogyan mutassunk nekik jó példát magunk is vezetőként. Sok új információ nem hangzott el, mégis nagyon hasznos volt végiggondolni és új megfogalmazásban hallani sok komoly tapasztalatot. Jegyzeteimet félig angolul, félig magyarul írtam a telefonomban, ld. lentebb. Az volt talán elszomorító, hogy egy ilyen remek előadásra milyen kevesek jöttek el: szinte csak a kar nemzetközi hallgatói, sem magyar hallgatók, sem az oktatók...
Új. Tanulás. Új dolgok
20. 60. 20 szereti a munkát.
Feel engaged. Optimistic. Generous. Collaborate.
Then: event. Criticism. Bad things: should is leave. Féltékeny. Disengagement alley. Slowly go down. Numb point. Car parking place i was promised. Moaning and complaining. Counting and comparing. Hányszor vittem én le a szemetet?
20% itt van. You cannot function, you cannot fire áll of them. Some are professional moaners. Drama road.
Hogy másokat elkötelezz, neked is el kell köteleződni. Totally. Lead the organization. You have to choose to be engaged. What is inspiring? Someone who is inspired. Be more engaging. Leaders wake up like normal people. They choose to be inspiring. They choose how to feel. Getting older is being more susceptible to be grumpier.
Tennis coach... response.
Midwife delivers engaged babies. Wired for engagement. Social beings. From ape man to space man.
Labels for people. Labelling department. Can't help. Even give ourselves a label.
Trap: that is who they are. These labels are creative. I am funnier among people who think i am funny. Kihozza belőlünk a legjobbat.
When you have a team, choose them all. Love them all. It's like being a parent. Update the label you gave them.
Overwrite labels. Art of leadership is remembering the people 's true nature.
People see through promotion. Be engaged.
Have the difficult conversations. Not just the 2 weeks before bonus.
Get people to want to do what they do.
3 brains that do not agree with each other. Limbic brain. Desires. Reptilian. Survival and reflexes. Neocortex. Logic.
Engagement is not logic. Chimp paradox. Appeal to the limbic brain- that 's where loyalty is.
Motive and rapport. What and how am I going to say. Word, body language, rapport, motive. The biggest influence. Where there is no rapport there is politics. Disgusting. Budget.
Common enemy. Unsafe space. Good conversations. Many managers go directly to their office. Always take the long way. They don't even know the name of my son. Rapport.
Massive sea change in the last 20 years between rapport and respect. My dad. Mr Smith. Unquestionable authority. Old management. Branson: employees come first. Customers second. Shareholders third.
People are watching you, what you do.
They know my son's name because you are interested. They know the football game because they are interested. Common motive. Passion creates rapport.
Selfish. Csr. Companies are trying to sell the idea that they care. We see through. Hollywood- selfless. Ghandi, Martin Luther King was not in it for the money. Spock the needs of the many ...
Motive must be clean otherwise you can not create buy in. Not in it for the self.
Magic mat. Thank you. Positive.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
Los Angeles, CA, January 12, 2008 -
Phantom Galleries LA has become known for transforming unsightly empty storefronts into vibrant and culturally exciting art experiences from Beverly Hills to Pasadena. PGLA is proud to announce a partnership with the Long Beach Redevelopment Agency in presenting their inaugural Long Beach exhibit, Susan Chorpenning's window installation "Fiat Lux III." Curated by Dangerous Curve.
Location: 248 Pine Ave, Long Beach, CA 90802
Exhibit runs: January 12 to March 12, 2008.
Viewable 24/7 with optimal viewing hours between 5 pm - 1 am.
Gallery Hours by appointment only.
Reception for the artist TBA.
"Fiat Lux" means "Let There be Light." Chorpenning means to light up
the darkest days and longest nights of the year. If you've not seen
one of Susan Chorpenning's twinkling light window displays, you've not
had a true urban winter-wonderland experience! Her last PGLA
installation, "Fiat Lux II," was like a holiday mega-display, with the
lights painstakingly intertwined and loaded on until they filled the
whole window. From afar, the window seemed to hover in front of its
pane of glass. Up close, one's whole field of vision was engulfed.
The effect was invigorating exuberance.
"Fiat Lux III" is more subdued than was "Fiat Lux 2," its lights
restrained (if only slightly) and elegant. It fills the two windows to the left and
right of the location's main doorway. The walls are painted
bright colors with added blocks of color behind some light elements. These light elements come in a variety of shapes and sizes, such as twinkling globes, mini-lava lamps, colored compact fluorescents, and tiny, twinkling, multicolored lights mounted on frames. Using stretcher bars throughout - but instead of being the structure for paintings, they are the structure for lights - eg. strings of lights wrapped around the stretcher bars, and variations on this theme. These "frames" are the most recurrent image in the piece. More subtle it is, but indeed still a beautiful sensory enterprise.
More about the Artist
Chorpenning suechor/myhomepage/index.html
is from Altadena, via New York and Europe. She has had numerous solo
shows and siteworks in galleries and museums, nationally in New York,
the San Francisco Bay Area, Texas, and internationally in Paris,
France, and Germany. She has performed to rave reviews at Dixon
Place, The Knitting Factory, BACA, The Painted Bride, and Claremont
College.
Among other things, Chorpenning does so-called "dark rooms," chairs
with flash units and light-sensitive rocks. All these
things use afterimages (from phosphorescent paint or flash units that
leave traces on one's retina to mimic memory perceptions. The "memories" can build up and overlap, and sometimes interact and overwrite each other.
Chorpenning's solo show at Dangerous Curve in 2004 was one of her
"light room" installations. In these, she uses paint on walls and
floors to record "memories" of constantly moving sunlight streaming in
through doors, windows, and skylights throughout a given day. All
Chorpenning's past light rooms have been records of sunlight as it
actually came into the rooms, but in "February Thirtieth," the
sunlight was completely fabricated for a completely fabricated day.
Chorpenning has noted that light traces left from another part of a
day can have a surprising psychological effect, causing the viewer to
perceive enhanced brightness in a room without really understanding
why. Imagine the effect in a room that, facing north, doesn't have any
direct sunlight at all. The space at Dangerous Curve is such a room,
and the effect of Chorpenning's multicolored trace records was
profound.
More about the Presenters
Phantom Galleries LA PhantomGalleriesLA.com is a Los Angeles County based organization that transforms properties in transition into 24/7 public art galleries. Each installation is a unique relationship between the participating Artist, Curator, and Property Owner. Exhibits are curated by local Arts Organizations, Galleries, Independent Curators, and Artists. The project gives local artists an opportunity to exhibit their work, while fostering economic development by drawing attention to available retail space. PGLA promotes the creative communities of Los Angeles to a broader audience and encourages the appreciation and participation in the arts among community members and organizations creating a win/ win situation that benefits the entire community as a whole. Art is a necessary part of everyday life.
Dangerous Curve dangerouscurve.org is a leading
contemporary art space in the Arts District of Los Angeles that
supports risky and intelligent work that's ahead of the curve.
The Long Beach Redevelopment Agency works to build a better Long Beach. For more information about Long Beach contact: rda.longbeach.gov
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in he RGB color space.
There are to real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.