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These four boys have received the right to portray the four principles of the OA ceremony. They each have intensely studied what each fictional character represents, and by donning the clothing of these characters they symbollicly become that person. As a past ceremonialist myself, I know the dedication and work that goes into performing ceremonies, and I wish to salute these boys' efforts.
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
www.sriyantras.com/christian-symbols.html
Hundreds Of High Resolution Christian Symbols in Mandala Form. The Symbols Of The Cross and The Star Of Bethlehem Drawn In Mandala Formation With Influence From Tibetan BUddhist Concepts.
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
Now selling epic 45SURF t-shirts & hoodies!
shop.spreadshirt.com/45surf/45surf+hero's+odyssey+mytholo...
Epic Malibu Sea Caves 2018 Caledar!
My book on Epic Landscape Photography!
www.amazon.com/Epic-Landscape-Photography-Principles-Comp...
Photographing the Venus Archetype!
www.amazon.com/Photographing-Women-Models-Photography-Arc...
Greetings mate! As many of you know, I love marrying art, science, and math in my fine art portrait and landscape photography!
The 45surf and gold 45 revolver swimsuits, shirts, logos, designs, and lingerie are designed in accordance with the golden ratio! More about the design and my philosophy of "no retouching" on the beautiful goddesses in my new book:
www.facebook.com/Photographing-Women-Models-Portrait-Swim...
"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
If you would like a free review copy, message me!
Epic Landscape Photography! New Book!
www.facebook.com/epiclandscapephotography
And here's more on the golden ratio which appears in many of my landscape and portrait photographs (while shaping the proportions of the golden gun)!
www.facebook.com/goldennumberratio/
'
The dx4/dt=ic above the gun on the lingerie derives from my new physics books devoted to Light, Time, Dimension Theory!
www.facebook.com/lightimedimensiontheory/
Thanks for being a fan! Would love to hears your thoughts on my philosophies and books! :)
http:/instagram.com/elliotmcgucken
instagram.com/goldennumberratio
Beautiful swimsuit bikini model goddess!
Golden Ratio Lingerie Model Goddess LTD Theory Lingerie dx4/dt=ic! The Birth of Venus, Athena, and Artemis! Girls and Guns!
Would you like to see the whole set? Comment below and let me know!
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I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
www.facebook.com/goldennumberratio/
The Golden Ratio informs a lot of my art and photographic composition. The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo! Not so long ago, I came up with the Golden Ratio Principle which describes why The Golden Ratio is so beautiful.
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
The Birth of Venus! Beautiful Golden Ratio Swimsuit Bikini Model Goddess! Helen of Troy! She was tall, thin, fit, and quite pretty!
Read all about how classical art such as The Birth of Venus inspires all my photography!
www.facebook.com/Photographing-Women-Models-Portrait-Swim...
"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
Falun Gong or Falun Dafa is an Chinese spiritual practice founded by Mr. Li Hongzhi, that is good for health, mind and body. Its teachings are of the principles of Truthfulness, Compassion and Tolerance, which help practitioners improve themselves from the inside out. Such a beautiful practice has benefited over 400 million people in 85 countries around the world, yet in China, its place of origin, it is being violently persecuted by the Chinese Communist Government.
Right now in China, hundreds of thousands Falun Dafa practitioners are being brutally persecuted. Thousands have already died at the hands of the Chinese Communist Party (CCP). Those who survived the detention camps have brought their stories to the public; stories of horrifying torture, physical and mental abuse, and worst of all, live organ harvesting.
The CCP is making a profit from taking the organs from live practitioners and selling them to hospitals for transplant patients. After the bodies are harvested of all useful organs the bodies are then burned to rid of any evidence.
One of the most devastating facts about the situation is that the people of China do not even know what is going on. Because the CCP has such a control over every aspect of China, including the media, they have lied to their people, calling Falun Dafa an "evil cult". Because we have freedom of speech and press in our countries, it is our duty to expose one of the most evil persecutions in history.
****************************************
20 Temmuz 1999 yılında Çin’deki iktidar partisi olan ÇKP bu ülkede çok sevilen Falun Dafa isimli Taichi benzeri bir tür Çin Yogası olan uygulamayı hiç bir geçerli sebep göstermeden yasakladı fakat sadece yasaklamakla kalmadı. İnsanların ORGANLARI ÇIKARTILIP SATILIYOR. Bu konu hakkında sağlıklı bilgi sahibi olmanız çok önemli. Yasal olarak hiçbir suç işlememiş olan bu sivil insanlardan zorla çıkarılan kornea, kalp, böbrek, karaciğer gibi organlar fahiş fiyatlara gizli bir şekilde satılıyor. Kanadalı ünlü araştırmacı David Kilgour ve dünyanın en ünlü insan hakları avukatı David Mataas hazırladıkları ve tüm dünyaya sundukları çok detaylı bir rapor ile, bu organ ticaretinin varlığını maalesef ortaya çıkardı. Bu rapor şu anda tüm dünya ülkelerinin en önemli gündeminden biri durumunda ve bu konu ile ilgili tüm ilgili kurumlar yoğun bir şekilde çalışıyor. Çok üzücü de olsa şu anda dünyada kaçak yolla satılan organların %75’inin Çin’de çalışma kamplarında zorla tutulan Falun Dafa uygulayıcılarından çıkarılan organlar olduğu tespit edildi. Bu vahşete iştirak ettiği belirlenen tüm ÇKP yetkilileri hakkında neredeyse tüm dünya ülkelerinde soykırım suçundan davalar açıldı. Bu insanlık dışı işlenen suçlar Uluslararası Af Örgütü, İnsan Hakları İzleme Komitesi, Dünya Psikiyatri Birliği, Birleşmiş Milletler İnsan Hakları İzleme Komisyonu raporları ve dünya çapındaki medya organizasyonları tarafından belgelenmiş durumda. 20 Temmuz 1999'dan bu yana hamile kadınlar, yaşlılar ve küçük çocuklar da dahil olmak üzere Falun Dafa uygulama sistemini yapan insanlar hiç bir yargılamadan geçmeden çalışma kamplarına gönderiliyor; binlercesi kanunu hiçe sayarak en uzun süreli hapis cezalarına çarptırılıyor, binlerce kişi tutuklanıp alıkoyuluyor ve neredeyse tamamı insanlık dışı muamele görüyor. Şaşırtıcı bir şekilde insanlara, akıl hastanelerinde sinir sistemini harap eden ilaçlarla işkence ediliyor. Binlerce insan gözetim altında hayatını kaybediyor ve sayısını dahi bilmediğimiz insanın akıbeti meçhul. Şu anda çok sayıda insan organları çıkarıldıktan sonra yakılma tehlikesi altında.
Committee for fundamental principles and rights at work. 106th Session of the International Labour Conference. Geneva, June 2017.
Commission pour les principes et droits fondamentaux au travail. 106e session de la Conférence internationale du Travail. Genève, juin 2017.
Comisión para los principios y derechos fundamentales en el trabajo. 106.a reunión de la Conferencia Internacional del Trabajo. Ginebra, junio de 2017.
Photo © Crozet / Pouteau
More information at : www.ilo.org
More pictures at : www.ilo.org/dyn/media
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Scanning negatives from 'first principles' ; PHOTAX test negative / the negative was illuminated by simply laying it flat on a light box, then photographed with a Canon G9 power shot digital camera (camera held rigid on a copy stand) The image was uploaded onto an iPad mini and then edited on the iPad using the Snap Seed application : I reversed the image from negative to positive (seen here) by using the 'curves' facility of the Snap Seed app. Considering the primitive nature of the scanning method it's a reasonable result and offers a way to get negative images onto internet media sites (such as Flickr).
The principles mound is headed by the august bodies of the W3C (the the MIT Great Dome) and the Ietf (the greybeards as greek gods). Singled out are the key principles which lead to the success of the Web: Cool URIs Don't Change, Safety, Jon Postel's law "be conservative in what you send, liberal in what you accept" otherwise known as The Robustness Principle, the IETF mantra "rough consensus and running Code", the separation of content from representation and finally the en.wikipedia.org/wiki/End-to-end_principle's famous The Network is Stupid paper.
Former Foreign Office Minister James Duddridge at the Annual Plenary Meeting of the Voluntary Principles on Security and Human Rights Initiative, 17 March 2015, London.
Assistant Professor Dathan Powell and students from his Principles of Stagecraft course help build the set for Clybourne Park, a play by Bruce Norris and directed by Professor Eric Thibodeaux-Thompson that will be performed at Studio Theatre November 8-10 and November 14-16.
Steel Rails
Their history, properties, strength and manufacture
With notes on the principles of rolling stock and track design
By William H. Sellew
1913
ISTANBUL, TURKEY - 24 MAY 2016: General view of the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
ISTANBUL, TURKEY - 24 MAY 2016: Manuel Bessler, Head of the Swiss government’s Humanitarian Aid Unit attends the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
Permaculture Design Certificate
With Nick Ritar + special guests
Alexandria, Sydney Australia
May-August 2010
Information on buildings and architecture
Führungen am Campus WU Leerzeile Leerzeile
University of the Future
Internationalism, innovation, diversity – the new Campus WU is the concrete realization of WU’s vision for a modern university. The fundamental principles of the new architecture reflect the values and ideas we cherish at WU.
As a public institution, WU has lived up to its responsibility of building its new campus in an economical, ecological, and socially sustainable manner. WU’s decision to locate the new campus in Vienna’s second district will redefine this area and transform it into an educational hub. We have not only constructed new buildings, but in the process we have also given concrete realization to our ideas of what the university of the future should look like. The new campus is more than just a place for academic research and teaching and learning practical skills; it is also designed to create a new space for social, cultural, and political life.
The imposing Library & Learning Center (LC), designed by the Iraqi-British architect Zaha Hadid, is a testament to the central importance of research and teaching at WU. The Library & Learning Center is surrounded by five building complexes, including the Teaching Center, which houses most of WU’s auditoriums. The Teaching Center is intended mainly for bachelor degree students, while the master degree programs are taught primarily in the individual Department buildings. The Executive Academy building is the home of continuing education and life-long learning programs. In this way, the various buildings and their functions reflect the three tiers of teaching and learning represented by the Bologna Process.
WU’s Department-based organizational structure was also a contributing factor. In the past, the various Institutes that make up the Departments were scattered across different locations. Now they have been brought together in four Department buildings, which will make life much easier for both students and faculty.
These are not the only improvements the new campus has to offer: All rooms have natural light, and the auditoriums feature state-of-the-art teaching equipment, including digital whiteboards. There are 3,000 student workplaces, three times as many as in the old buildings in Vienna’s ninth district. These workplaces are located not only in the dedicated self-study areas, but also in project rooms that can be booked by teaching staff and students alike. They cater to different needs by providing quiet spots for focused academic work as well as opportunities for work on group projects in communicationfriendly study areas.
The top priority in planning the new campus was to create an environment for WU students and staff that is conducive to productive work and communication.
Not only the buildings themselves, but also the surrounding grounds offer plenty of opportunities for communication and meeting people. 55,000 m² of Campus WU’s total 100,000 m² of floor and surface area is open, publicly accessible space. Fences or barriers would contradict our vision of an open campus.
Visitors and area residents are more than welcome at Campus WU. The campus offers not only food for thought, but also restaurants, cafés, and shops, all in a stimulating architectural environment.
As different as they may look, however, the buildings are all based on the same overall technical concept: the building infrastructure is standardized in terms of construction, energy supply, ventilation, and sanitary facilities. The entire campus has been designed in accordance with “green building” principles. Much of the required energy is obtained using geothermal energy from groundwater.
Another key feature of Campus WU is barrier-free accessibility. All auditoriums are specially equipped for people with disabilities, all areas are designed to be wheelchair accessible, and the campus also features a tactile guidance system for the visually impaired.
We have not only made sure to comply with all relevant legal guidelines, but we have also drawn on experience gained from best practice examples. WU aims to play a pioneering role – in all respects.
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
In this photo, there are many ecological principles at play but I will only shed light on a few. First, in this photo there are two primary species I will focus on and they are the Tillandsia usneoide (common name Spanish Moss) and what I believe to be the Quercus virginiania (Southern Live Oak). I found these two species in Downtown Wilmington, on Market street. In this photo, it is important to know that this tree is located in a very humid climate, in which provides an essential ecological niche for both tree and angiosperm (the Spanish moss is commonly misperceived to be a moss, but it is indeed an angiosperm). The Spanish moss is an epiphyte which means it acquires its nutrients and water supply mainly through the air, which is why a humid climate is essential to it's survival. They also acquire many nutrients from their "friends", as the Southern live oak is rich in their rates of foliar mineral leaching. This means that the Southern live oak provides an abundant supply of nutrients that are essential to the Spanish moss. This is why you can always find the Spanish moss living with the Southern live oak. Many people believe that the "moss" harms the trees but I will lay that myth to rest as the Spanish moss does not act as a parasite to the tree. The only way for the Spanish moss to harm the tree is when they become too dense for sunlight to reach the tree's leaves which lowers the trees photosynthetic rates and in turn harms the tree. These two species live harmoniously and are very abundant here in Wilmington due to our humid climate.
An anti-establishment view or belief is one which stands in opposition to the conventional social, political, and economic principles of a society. The term was first used in the modern sense in 1958, by the British magazine New Statesman to refer to its political and social agenda. Antiestablishmentarianism (or anti-establishmentarianism) is an expression for such a political philosophy.
In the UK anti-establishment figures and groups are seen as those who argue or act against the ruling class. Having an established church, in England, a British monarchy, an aristocracy, and an unelected upper house in Parliament made up in part by hereditary nobles, the UK has a clearly definable[citation needed] Establishment against which anti-establishment figures can be contrasted. In particular, satirical humour is commonly used to undermine the deference shown by the majority of the population towards those who govern them. Examples of British anti-establishment satire include much of the humour of Peter Cook and Ben Elton; novels such as Rumpole of the Bailey; magazines such as Private Eye; and television programmes like Spitting Image, That Was The Week That Was, and The Prisoner (see also the satire boom of the 1960s). Anti-establishment themes also can be seen in the novels of writers such as Will Self.
However, by operating through the arts and media, the line between politics and culture is blurred, so that pigeonholing figures such as Banksy as either anti-establishment or counter-culture figures can be difficult. The tabloid newspapers such as The Sun, are less subtle, and commonly report on the sex-lives of the Royals simply because it sells newspapers, but in the process have been described as having anti-establishment views that have weakened traditional institutions. On the other hand, as time passes, anti-establishment figures sometimes end up becoming part of the Establishment, as Mick Jagger, the Rolling Stones frontman, became a Knight in 2003, or when The Who frontman Roger Daltrey was made a Commander of the Order of the British Empire in 2005 in recognition of both his music and his work for charity.
Anti-establishment in the United States began in the 1940s and continued through the 1950s.
Many World War II veterans, who had seen horrors and inhumanities, began to question every aspect of life, including its meaning. Urged to return to "normal lives" and plagued by post traumatic stress disorder (discussing it was "not manly"), in which many of them went on to found the outlaw motorcycle club Hells Angels. Some veterans, who founded the Beat Movement, were denigrated as Beatniks and accused of being "downbeat" on everything. Lawrence Ferlinghetti wrote a Beat autobiography that cited his wartime service.
Citizens had also begun to question authority, especially after the Gary Powers U-2 Incident, wherein President Eisenhower repeatedly assured people the United States was not spying on Russia, then was caught in a blatant lie. This general dissatisfaction was popularized by Peggy Lee's laconic pop song "Is That All There Is?", but remained unspoken and unfocused. It was not until the Baby Boomers came along in huge numbers that protest became organized, who were named by the Beats as "little hipsters".
"Anti-establishment" became a buzzword of the tumultuous 1960s. Young people raised in comparative luxury saw many wrongs perpetuated by society and began to question "the Establishment". Contentious issues included the ongoing Vietnam War with no clear goal or end point, the constant military build-up and diversion of funds for the Cold War, perpetual widespread poverty being ignored, money-wasting boondoggles like pork barrel projects and the Space Race, festering race issues, a stultifying education system, repressive laws and harsh sentences for casual drug use, and a general malaise among the older generation. On the other side, "Middle America" often regarded questions as accusations, and saw the younger generation as spoiled, drugged-out, sex-crazed, unambitious slackers.
Anti-establishment debates were common because they touched on everyday aspects of life. Even innocent questions could escalate into angry diatribes. For example, "Why do we spend millions on a foreign war and a space program when our schools are falling apart?" would be answered with "We need to keep our military strong and ready to stop the Communists from taking over the world." As in any debate, there were valid and unsupported arguments on both sides. "Make love not war" invoked "America, love it or leave it."
As the 1960s simmered, the anti-Establishment adopted conventions in opposition to the Establishment. T-shirts and blue jeans became the uniform of the young because their parents wore collar shirts and slacks. Drug use, with its illegal panache, was favored over the legal consumption of alcohol. Promoting peace and love was the antidote to promulgating hatred and war. Living in genteel poverty was more "honest" than amassing a nest egg and a house in the suburbs. Rock 'n roll was played loudly over easy listening. Dodging the draft was passive resistance to traditional military service. Dancing was free-style, not learned in a ballroom. Over time, anti-establishment messages crept into popular culture: songs, fashion, movies, lifestyle choices, television.
The emphasis on freedom allowed previously hushed conversations about sex, politics, or religion to be openly discussed. A wave of radical liberation movements for minority groups came out of the 1960s, including second-wave feminism; Black Power, Red Power, and the Chicano Movement; and gay liberation. These movements differed from previous efforts to improve minority rights by their opposition to respectability politics and militant tone. Programs were put in place to deal with inequities: Equal Opportunity Employment, the Head Start Program, enforcement of the Civil Rights Act, busing, and others. But the widespread dissemination of new ideas also sparked a backlash and resurgence in conservative religions, new segregated private schools, anti-gay and anti-abortion legislation, and other reversals. Extremists[clarification needed] tended to be heard more because they made good copy for newspapers and television.[citation needed] In many ways, the angry debates of the 1960s led to modern right-wing talk radio and coalitions for "traditional family values".
As the 1960s passed, society had changed to the point that the definition of the Establishment had blurred, and the term "anti-establishment" seemed to fall out of use.
In recent years, with the rise of the populist right, the term anti-establishment has tended to refer to both left and right-wing movements expressing dissatisfaction with mainstream institutions. For those on the right, this can be fueled by feelings of alienation from major institutions such as the government, corporations, media, and education system, which are perceived as holding progressive social norms, an inversion of the meaning formerly associated with the term. This can be accounted for by a perceived cultural and institutional shift to the left by many on the right. According to Pew Research, Western European populist parties from both sides of the ideological spectrum tapped into anti-establishment sentiment in 2017, "from the Brexit referendum to national elections in Italy." Sarah Kendzior of QZ opines that "The term "anti-establishment" has lost all meaning," citing a campaign video from then candidate Donald Trump titled "Fighting the Establishment." The term anti-establishment has tended to refer to Right-wing populist movements, including nationalist movements and anti-lockdown protests, since Donald Trump and the global populist wave, starting as far back as 2015 and as recently as 2021.
Objective 3: Elements and Principles of Design
Line: this photo has many kinds of line in it, on the leafs there is straight line from the start to end and along that straight line there is curved lines running off of it, the lines on the leafs draw your eye to them because they are defined and have a calm and beautiful feel to them. The main branch that the leaves are connected to also demonstrates straight line and has a rigid feeling to it.
Colour: the main colour in this photo is the green leafs and as well as some pink on the ends of buds. This colour give off a nature feel to the image and shows you that it was taken on a cloudy day because there is no hard lighting in the image.
Shape: the leaves in this photo are organic and an oval shape, this adds to the nature feeling of this image.
Space: in the background the space is negative and it draws your eyes towards the foreground and makes your eye really focus on the branches and the raindrops on the leaves.
Texture: the texture of this photo is smooth because it was a cloudy day which made for no harsh lighting and the leaves give off a smooth texture the way that the rain drops are on them and the smooth texture gives this photo an at peace feeling with nature.
Emphasis: in this photo I made sure that background was clutter free and had nothing going on in it so this way the eye would mainly focus on the close up shot of the branch and leafs and especially the water drops which were the main point of focus in this photo.
Movement: in this image there are lots of diagonal lines on the leaves and it draws your eye to other leafs and that keeps it a flowing movement which your eyes are drawn too. The rain drops are also dripping from the ends of the leaves which show us they have moved and that the photo has been taken after it had just rained.
Repetition/pattern: the repeating pattern of the different types of lines on the leafs adds to this image quite a lot because it draws your eye to them which makes the image a lot more interesting to the eye.
Contrast: in this image I adjusted the contrast so that the darks would be darker and the lights lighter so that this way the green on the leaves stand out more and this makes the foreground become more interesting. And by making the lights lighter it makes the background become brighter and blurred so this way it is even more so out of focus.
Unity: I believe that this photo has unity by the way the foreground is in focus, the leafs and the rain also give off a smooth texture which makes them go together and the rain drops just give the image a sense of nature and peace which just gives it an overall completeness.
Objective 4: Lighting
This picture was taken outside but I took it on a cloudy rainy day so that made the lighting not so harsh and hard but instead soft.
Objective 5: Post Production (ex. dust/spot removal, resize, contrast, white balance, sharpening, borders, etc.)
In this image I contrasted it so that the darks would be just a little bit darker and the lights lighter so that way the green leafs stand out more, another thing I did was resize the image so that it is easier to download or to post.
Objective 6: Critique
For this image I would have liked to have an extended lens to try different zooms.
Next time I would like to try to shoot this image while it is raining and try to get it in the image.
I liked how the post production made this image turn out and as well as how I took it after it rained so there was rain drops in the image.
Objective 7: Photographic Styles (ex. portrait, landscape, etc.) – Explain why the settings and composition are appropriate for the style of photography. (How did you create the shot?) You do NOT need to do Objective 2 if you are handing in this objective.
Type/style of photography: the photography style I used in this photo was close up.
The camera mode used in this picture was Av
f stop used: 5.6
shutter speed used: the shutter speed was decided for me because I was in Av mode
ISO used: 400 because it was outside lighting but it was a cloudy day so it did not need to be down any lower.
Exposure compensation: 0
Focal length: the focal length was 55 because I wanted to get close in to this photo and not have much in the background so that your eyes would mostly focus on the rain drops and leafs.
Leave No Trace, Center for Outdoor Ethics, provides research, education and initiatives so every person who ventures outside can protect and enjoy our world responsibly. Check out the 7 principles of Leave No Trace before your next outing >> lnt.org/why/7-principles/
Photo by Kelly Rigby
Epic 45SURF t-shirts & hoodies for your EPIC HERO'S ODYSSEY!
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Epic Malibu Sea Caves 2018 Caledar!
My book on Epic Landscape Photography!
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Photographing the Venus Archetype!
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Greetings mate! As many of you know, I love marrying art, science, and math in my fine art portrait and landscape photography!
The 45surf and gold 45 revolver swimsuits, shirts, logos, designs, and lingerie are designed in accordance with the golden ratio! More about the design and my philosophy of "no retouching" on the beautiful goddesses in my new book:
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"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
If you would like a free review copy, message me!
Epic Landscape Photography! New Book!
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And here's more on the golden ratio which appears in many of my landscape and portrait photographs (while shaping the proportions of the golden gun)!
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The dx4/dt=ic above the gun on the lingerie derives from my new physics books devoted to Light, Time, Dimension Theory!
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Thanks for being a fan! Would love to hears your thoughts on my philosophies and books! :)
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Beautiful swimsuit bikini model goddess!
Golden Ratio Lingerie Model Goddess LTD Theory Lingerie dx4/dt=ic! The Birth of Venus, Athena, and Artemis! Girls and Guns!
Would you like to see the whole set? Comment below and let me know!
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I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
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The Golden Ratio informs a lot of my art and photographic composition. The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo! Not so long ago, I came up with the Golden Ratio Principle which describes why The Golden Ratio is so beautiful.
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
The Birth of Venus! Beautiful Golden Ratio Swimsuit Bikini Model Goddess! Helen of Troy! She was tall, thin, fit, and quite pretty!
Read all about how classical art such as The Birth of Venus inspires all my photography!
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"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
Born in Victoria, BC, Canada in July of 1965, Warren is a pioneer of highly detailed comic art.
He has adhered to fine art sculpting principles throughout his long career and is considered the most consistently representative comic sculpture in the world.
As a youth in the Fairfield area of Victoria, Warren was encouraged by a number of mentors and teachers to sculpt in the free-standing form, a practice he has never strayed from. One of his funniest memories was when he was a young and impressionable teenager in an advanced sculpting class. Warren was enthusiastic when the teacher said they were going to sculpt a live model one evening. He was not quite prepared as the beautiful woman completely disrobed on the stage in front of the students. Being the shy, youngest member of the class he quickly turned around and sculptured a very long haired woman rising out of a rock at the waist. The model was not pleased with his work but the teacher loved it!
warren stratfordWarren soon began to concern himself with his lifelong objective: portraying the variations of humor and atmosphere brought on by comical things he thinks about. Rather than copy others as was the traditional practice of young artists, Warren learned from people around him, from the landscape itself, and from the works of his older contemporaries. Warren’s representation of humor are based on his observations of people he meets and interviews.
He often shows natural color by breaking it down into its different components as a prism does. Eliminating dull and boring from his palette, Warren rejected entirely the academic approach to comic sculpting.
Warren gIn the Signature Series Warren allows his vision of light to dissolve the real structures of his subjects. To do this he chose simple subjects, making several humorous studies of the same subject at different occupations or activities.
Warren shares his time between Asia and his home town Victoria. Look for more Signature Series as Warren is always finding humor wherever he goes.
Warren’s work is particularly well represented in shops around the world. It is also included in many famous private collections.
A robotic fabricated pavillon inspired by the underwater nest construction of the water spider
photographed by
Frank Dinger
BECOMING - office for visual communication
facebook: Becoming office for visual communication
My principles of design for this photo is contrast because the contrast between all of the different colors and a little bit of texture created from the lines on my skin brought out by the color. The process for my image was I took some food coloring and I dripped it down my hands and blended some with a paintbrush. Then I took a light and shined it onto my hand and took the photo. If I could change one thing it would be to change the angle of the photo. I think I did well with making sure the colors turned out vibrant enough.
Mystery's M3 pickup model has everything you need to know about the principles of seduction. Seduction can actually be broken down like a scientific experiment. The M3 pickup model, like the scientific method, is a technique to fix a problem, and what bigger problem is there than how to seduce women? However, many guys may look at that and be like in high school chemistry: blank stares mixed with a little bit of fear and disgust. For those of you put off by the technical aspect of the M3 model, the following is the simplified version, the step by step pickup guide for dummies.
The simplified version of picking up women is basically broken down into 3 steps:
1) Approach
2) Attract
3) Connect
Boiling everything down to 3 steps makes it much easier to learn, memorize, and recognize what stage you are in so you can escalate accordingly. Basically, it works like this: first you approach the target and get in with an opener so the woman becomes receptive to what you have to say. Then you have to get the woman attracted to you, or at the very least, interested. After the woman is interested, you have to hook her and reel her in by establishing connection.
The Approach
Approaching a random woman is perhaps one of the most intimidating things you can do. There is no magic spell to get over this fear. Like any fear, you have to face it and then overcome it. The best way to overcome fear of approaching women and the consequent approach anxiety is to do it over and over and over until you get desensitized to it. Let's get this straight: you WILL crash and burn and get rejected many times in the beginning. If this prevents you from approaching women, you should give up now and become a monk. However, as you gain painful experience, rejection will get easier to handle, if not less painful, until the day comes when you hardly get rejected at all. Rules to follow when approaching women:
1) Follow the 3 second rule. Approach her within 3 seconds of spotting her.
2) Never open with a filler or apology like, "I'm sorry but," "Excuse me," "I couldn't help noticing," "I have to tell you," "If you're not too busy." These make you sound unconfident and like a beggar.
3) Never, ever give her a generic compliment, especially if she's pretty. You'll just be one of the many boring chumps that week that told her how pretty she is and give her more power.
4) Don't buy her a drink or flowers or whatever else to get her attention. You can't buy her interest. Buying her stuff serves to show her that you're so pathetic, you have to try and buy her interest.
5) Don't come off as too eager, desperate, or anxious. Women are experts in body language and what is more unattractive than a desperate guy eager to do anything to please her ?
The Attract
Once you have successfully approached a woman and she is actually ready and willing to listen to what you have to say, you only have an instant to sell yourself. Consider this stage as the "elevator pitch." You're in an elevator with Warren Buffet and you have until the duration of the elevator ride to pitch him your amazing business idea and get him interested in you. The attraction stage of picking up women is exactly like that. You have a couple minutes to sell yourself and gain her interest before she dismisses you as not having potential.
Women are attracted to your perceived value, and to gain her interest, your perceived value has to equal or surpass her own value. There are two ways to do this. You can either raise your value or you can lower her value. Raising your value is done through a pickup artist technique called demonstrate high value (DHV) and lowering her value is done through the pickup technique called negging.
1) DHV (Demonstrating High Value)
Demonstrating high value means that you are doing something or showing her that you are worthy of her attraction and interest and can provide her with something of value. She has to feel that you add value to her so is worth her time. This is done through pickup artist gimmicks, tricks, routines, or just exuding a sense of value like the rich, powerful guys naturally do.
2) Negging
Negging is a sort of playful antithesis to the compliment. The goal is to tease her playfully so that her value goes down a little bit. A neg should never come off as an insult but more of a tease to prompt a response from the woman. Beautiful women especially have such high value that unless you can pull off an extremely high value to meet hers, it is best to lower her value a little by negging her. Some effective negs are:
"You like shopping for clothes at Walmart, don't you ?"
"Isn't that purse last year's model?"
"I like your hairstyle, very 80's."
"You shouldn't be drinking any more, you're already not making sense."
"I know a very cheap gym you might like."
"You're like a little sister, cute but annoying."
The Connect
Making a connection is the longest and most enjoyable phase in a successful pick up. Once you've established mutual attraction and the hard part's over, it's just a matter of getting to know each other. You just talk, enjoy each others' company, and make emotional and physical connections. This is the stage where you also escalate your kino (physical contact). Making a connection is mostly done through having a deep conversation and establishing similar threads. You can talk about your vulnerabilities and childhood experiences here as well to really establish a deep connection.
You can read about and try out the gimmicks and routines to establish emotional connections with a woman, but nothing works better than having a genuine conversation and getting to know each other through the things you have in common. www.attractwomenreport.com/how-to-pick-up-girls-step-by-s...
From left to right: Chuck Ferguson, Roger Button, John Fullmer, Bob Reichen, Dick Wingard, Bob Hall, Scott Edwards, Mark Burris, Eugene Wallace and Bob Tomeoni.
Sam Cousley, instructional associate professor of marketing, lectures during his Marketing Principles class. Photo by Thomas Graning/Ole Miss Communications
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Dr. Maria Grazia Cianci | Dr. Daniele Calisi, "Methods and principles for the reading, analysis and virtual reconstruction of urban fabrics that have disappeared." [= "IL QUARTIERE ALESSANDRINO. UNA RICOSTRUZIONE VIRTUALE"], SCIRES, Vol. 4.2 (2014) [PDF], pp. 43-45.
PDF = wp.me/pPRv6-2L0
FONTE SOURCE:
-- Dr. Daniele Calisi, Roma Tre University, Rome, Italy, Dipartimento di Architettura, Post-Doc [academia.edu] (02|2015).
uniroma3.academia.edu/danielecalisi
-- Dr. Maria Grazia Cianci, Università degli studi Roma Tre, Dipartimento di Architettura, Faculty Member [academia.edu] (02|2015).
uniromatre.academia.edu/MariaGraziaCianci
PDF = Dr. Maria Grazia Cianci | Dr. Daniele Calisi, "Methods and principles for the reading, analysis and virtual reconstruction of urban fabrics that have disappeared," SCIRES, Vol. 4.2 (2014) [PDF], pp. 43-45.
s.v.,
-- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: "IL QUARTIERE ALESSANDRINO. UNA RICOSTRUZIONE VIRTUALE" (2007-15). wp.me/pPRv6-2IX
-- DESCRIPTIO ROMAE – CATASTO URBANO – PIO GREGORIANO | UNIVERSITA` “ROMA TRE” & FACEBOOK (2007-15) [02|2015].
DESCRIPTIO ROMAE – CATASTO URBANO – PIO GREGORIANO | UNIVERSITA` “ROMA TRE” [02|2015].
1). www.dipsuwebgis.uniroma3.it:84/portale/
1.1). www.dipsuwebgis.uniroma3.it:83/webgis/map.phtml
— ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Archivi: nasce Descriptio Romae – WebGis la nuova banca dati sulla Roma tra Settecento e Ottocento, TAFTER (12|01|2015) & Descriptio Romae [ROMA TRE] | FACEBOOK (01|2015).
— ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Daniele Calisi, Maria Grazia Cianci, Francesca Geremia, IL QUARTIERE ALESSANDRINO. UNA RICOSTRUZIONE VIRTUALE FILOLOGICA ED EMBLEMATICA: ALLA RICERCA DEI VALORI ORIGINALI DEI TESSUTI URBANI DEMOLITI. Roma, Università Roma Tre, (21‐22 novembre 2014), [PDF], pp. 1-7.
— ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Roma, ‘WebGIS CASTASTO GREGORIANO’ – UNIVERSITA` DEGLI STUIDI ROMA TRE – DEPARTIMENTO STUDI URBANI (2007-14).
— ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Rome – The Imperial Fora: WebGIS – CATASTO GREGORIANO (1818-24) & Rome – Aerial View (2007-08). Scale 1:1000.
— ROMA RESTAURO ARCHITETTURA & ARCHIVIO: I FORI IMPERIALI e VIA ALESSANDRINA: Ma Mussolini non fu il primo – Via dei Fori. Lo ‘Sventramento’ fascista fu la conseguenza di una ideologia nata assai prima, AA.VV., Via dei Fori Imperiali. la zona archeologica di Roma (1983). LA REPUBBLICA (13|11|1983).
— ROMA ARCHEOLOGIA – I FORI IMPERIALI e VIA ALESSANDRINA: Le Demolizioni Zona Archeologica dal 1873-1940 (WebGIS CATASTO GREGORINAO / LA SAPIENZA (2007-12)] & (Tav. 16 /p. 117, in: AA.VV., VIA DEI FORI IMPERIALI, Venezia [1983]).
-- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Alvaro de Alvariis (a cura di), Roma ieri, Roma oggi di Alvaro de Alvariis (2009-15).
61312 foto di Roma | 2817 albums = fotografie di Roma dell’antichità al 21 ° secolo (2009-15).