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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
In fact two binoculars, but the general principles are the same. The smaller is an 8x21, the larger an 8x56. They both give the same field of view, the same magnification, and the same image quality. The difference is in the exit pupil, what corresponds in binoculars to camera lens aperture.
Binoculars use the pupil of your eye to change aperture according to lighting conditions. In dim light the pupil of your eye gets bigger, up to a maximum of around 7mm. That's the exit pupil of the big binocular. That means you can use the big binocular in the dimmest light, and whatever your eye can see, the binocular can magnify. Whereas the exit pupil of the little binocular is 2.6mm, suitable only for bright light.
In dim light the small one is useless, but in bright light the performance of these two binoculars is the same. The small ones are very much smaller, lighter, and cheaper, and can easily be carried around all day in a pocket. So even if you wanted the big one for occasional dim light use, it could make sense to have the small one as well just because it's so much easier to carry around. And if you have the small one, do you really want to pay all that extra money just for the occasionally useful extra low light performance the big one provides?
These considerations also apply to camera lenses :-)
Original: DSC02906FBX
Against the grim backdrop of the COVID-19 pandemic, chief executives of 110 companies in Thailand have pledged to advance gender equality in business by implementing the Women’s Empowerment Principles (WEPs). The event was hosted by WeEmpowerAsia, a UN Women programme funded by and in partnership with the European Union. Read the full press release: unwo.men/tGyn50BFura
Date: September 30, 2020
Location: Bangkok, Thailand
Photo: UN Women/Siraphob Werakijpanich & Tanasin Pheankusol
CAMPUS - Prof. Han Slawik Architect
Principles for the realization of the temporary project 'Campus' - with a life of 5 years - were:
· Mont table> removable> remo table
· Use of containers
· Use of industrially manufactured products
· Reuse of building elements
· Experiments in function space and construction
Reflected these essential ideas in the realized object:
· Building elements are fully equipped with demountable connections
· Modular design with seven shipping containers 20 ft (6 m)
· Standard products: concrete slabs (Stelcon) for foundation, kasgevelsysteem for the greenhouse-like gap
· Formwork girders as supports between the containers, scrap wood floors
· Dealing with limited dimensions of containers, Space spiral staircase with a crooked pole
Experiences with the use of the object:
· Mounted vertically containers give additional problems in connections and seals
· Second components are labor intensive and maintenance
De Realiteit, Almere NL - On the south bank of the Noorderplassen in Almere is situated “De Realiteit” (The Reality). An unusual name for a street. Seventeen winning designs of the Second Competition of “De Fantasie” (The Fantasy) were built here in 1986. A year earlier the foundation organized "Fantasy" a design entitled "Temporary Housing". The prizes consisted of land, plots of approximately 20x20 m, where the winners, 17 could realize their ideas. By their nature offered the opportunity to contest the freest design, especially as the building codes did not have to be observed. Concepts such as removable, repositionable, limited life were central. The decommissioning of the building regulations meant that the awarded works were to be considered temporary. The participants knew in advance that the normal funding, namely the mortgage, was not available because of the transitory character. Nevertheless today (after 27 years) the houses are still present and inhabited and most are in good condition.
There are many! Here are a few that the students came up with. Permaculture principles are derived from natural ecological principles. David Holmgren synthesized these to produce 12 design principles found here: permacultureprinciples.com/
The Principles on the Accountability of the and the Relationship between the Three Branches of Government, an important document in its own right, it is also significant as the product of collaboration between Commonwealth civil societies and the intergovernmental level.
Bald Eagle Gigapixel AI Klamath National Wildlife Refuge Tule Lake Sony A1 ILCE-1 Fine Art Bald Eagle Bird Photography! Sony Alpha 1 & Sony FE 200-600mm f/5.6-6.3 G OSS E-Mount Lens SEL200600G Klamath Basin Oregon! Elliot McGucken Fine Art Wildlife Eagle Photography Alpha1 !
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
I had the honour to shoot Aleks, Tina and Hanna while doing some areal acro on a beautiful sandy beach in Thailand's little paradise called Koh Phangan.
'The Principles and Practice of Mine Ventilation', by D. Penman, 2nd edition, 1947, Charles Griffin & Co., Ltd., London. Brown hardback book with lettering on spine.
West Lothian Museums. http://www.westlothian.gov.uk/tourism/museumsgalleries/ums/information
If you would like more information about this object, please contact: museums@westlothian.gov.uk, quoting WLDCM1995.096.004.
Emil Nolde (1867-1956), Bosque/Wald/Forest, 1909 (Albertina - Sammlung Batliner)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Against the grim backdrop of the COVID-19 pandemic, chief executives of 110 companies in Thailand have pledged to advance gender equality in business by implementing the Women’s Empowerment Principles (WEPs). The event was hosted by WeEmpowerAsia, a UN Women programme funded by and in partnership with the European Union. Read the full press release: unwo.men/tGyn50BFura
Date: September 30, 2020
Location: Bangkok, Thailand
Photo: UN Women/Siraphob Werakijpanich & Tanasin Pheankusol
I chose this picture for my Principles of Design for balance because if you were to cut this image in half it would be almost the same thing on both sides.
Against the grim backdrop of the COVID-19 pandemic, chief executives of 110 companies in Thailand have pledged to advance gender equality in business by implementing the Women’s Empowerment Principles (WEPs). The event was hosted by WeEmpowerAsia, a UN Women programme funded by and in partnership with the European Union. Read the full press release: unwo.men/tGyn50BFura
Date: September 30, 2020
Location: Bangkok, Thailand
Photo: UN Women/Siraphob Werakijpanich & Tanasin Pheankusol
Zabriskie Point Sunrise Death Valley National Park Vibrant Sandstone Colors Fuji GFX100s Fine Art Landscape Nature Photography California Desert Southwest! Dr. Elliot McGucken Master Medium Format Photographer! Fujifilm GFX 100s & FUJIFILM GF Lens! DVNP 45EPIC
Dr. Elliot McGucken 45EPIC Fine Art Spacetime Sculpture dx4//dt=ic:
Epic Fine Art Photography Prints & Luxury Wall Art:
Support epic, stoic fine art: Hero's Odyssey Gear!
Follow me on Instagram!
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's
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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UX (user experience) honeycomb structure
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Feel free to use this image for free, revise or edit it, even for commercial purposes as long as you credit the original source- www.wowmakers.com/blog/ux-design-for-email-marketing-guide/
An example would be: Image Source- ux for email
Looking for more images related to UX: www.flickr.com/people/183689499@N02/
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Session 2: Regulatory principles for security, privacy and trust, 24 October 2016, Hammamet, Tunisia.
© ITU/ A. Mhadhbi
Single page cheatsheet attempting to capture Edward Tufte's 6 (or 7) principles of presenting information as evidence. Based on how he articulated them at a an IQ2 talk held on the 19th of May 2010 at the RGS.
Buy principles of anatomy and physiology 12th edition cheapest textbooks at www.bookcarry.com/principles-of-anatomy-and-physiology.html
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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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
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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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Join my new 45EPIC fine art landscapes page on facebook!