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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.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Title page and signature in Principles of Mechanics by T.M. Goodeve, 1889.
Goodeve was a Professor of Mechanics and a Barrister-at-Law.
For students of engineering.
This copy signed, A.G. Ambrose. [Alexander George Ambrose was a gasworks engineer and manager in New South Wales.]
Published by Longman Green, London. Brown cloth boards 357 pages 19cm x 13cm.
Image from '[Manual of Geology: treating of the principles of the science with special reference to American geological history ... Revised edition.]', 000858022
Author: DANA, James Dwight.
Page: 196
Year: 1880
Place: New York; Trübner & Co
Publisher: Ivison, Blakeman, Taylor & Co.
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Beedie School of Business' CIBC Centre for Corporate Governance and Risk Management, the Shareholder Association for Research and Education (SHARE), and the UN-backed Principles for Responsible Investment (UNPRI) hosted an event on February 28, 2013 featuring keynote Dr. Wolfgang Engshuber, Chair of PRI. This was followed by a panel discussion on the role of responsible investment in comprehensive risk management and ways to build healthy, sustainable capital markets.
Panel speakers include:
Robert Adamson, Business Administration Faculty, CICA Fellow in Corporate Governance and Risk Management, Executive Director, CIBC Centre for Corporate Governance and Risk Management, SFU Beedie School of Business
Dermot Foley, CFA, Manager ESG Analysis, Vancity
Laura O'Neill, Director of Law and Policy, SHARE
Bryan Thomson, Vice President, Equity Investments, bcIMC
Robert Walker, Vice President, ESG Services and Ethical Funds, NEI Investments
To save up to 80% on buying "NEW" college textbooks Please proceed to www.bookcarry.com
Kindly visit www.top10textbooks.com for textbooks review!
BOOK TITLE : Principles of Corporate Finance
AUTHOR : Franklin Allen, Richard A. Brealey, Stewart C. Myers
EDITION : 9th
Our ISBN 10 : 0071263276
Our ISBN 13 : 9780071263276
ADDITIONAL : N/A
PUBLISHER : McGRAW HILL
FORMAT : Paperback / Softcover
BOOK QUALITY : Printed on High Quality Glossy Acid Free Paper
CONDITION : Brand New
0073368695
9780073368696
These Seven Principles of Human Learning taken from the National Academies Press free ebook Learning and Understanding (2002).
"During the last four decades, scientists have engaged in research that has increased our understanding of human cognition, providing greater insight into how knowledge is organized, how experience shapes understanding, how people monitor their own understanding, how learners differ from one another, and how people acquire expertise. From this emerging body of research, scientists and others have been able to synthesize a number of underlying principles of human learning. This growing understanding of how people learn has the potential to influence significantly the nature of education and its outcomes."
Image licensed under Creative Commons by philipbouchard: www.flickr.com/photos/pbouchard/3196503910/
Public Domain Book: The international encyclopedia of scientific tailor principles, for all kinds and styles of garment-making ... Also designing ... embroidery, crocheting, knitting, worsted work, fancy and artistic needle work ..
by Christner, D. C
Published 1885
High-level Event to launch the Principles for Responsible Banking
Remarks by the Secretary-General
Principles for Responsible banking, CEO’s signing agreement to do responsible banking
Tarnman, Ian. First Principles. New York: Future Press, 1978.
See MCAD Library's catalog record for this book.
The Seven Principles
1. The World Is What You Think It Is.
2. There are no limits.
3. Energy Flows Where Attention Goes.
4. Now Is The Moment Of Power.
5. To Love Is To Be Happy With (someone or something).
6. All Power Comes From Within.
7. Effectiveness Is The Measure Of Truth.
Excerpt from Healing Relationshipsby Serge Kahili King: "Everything you believe about anything is based on made-up rules. All your beliefs about yourself, about relationships, about men, women, children, about all the individuals you know, are really rules. Even more importantly, the rules you have about these things affect your experience with them."
August, 1993.
Original photograph © Kenneth Mantock, scanned and curated for Bournemouth Civic Society.
"Download : fisrtmagazine.biz/?book=012809284X
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The principles I used for this photo is Emphasis and movement. I used detergent and a blacklight to create the dripping shape on the mirror. I think I did a good job on creating the interesting focal point. One thing I'd definitely work on would be move towards a more parallel angle.
THE IMMATERIALISM
Curator: Fabrizio Lollini
Artist: Rothko
About twenty years ago, a great historian of art, Michael Baxandall, wrote a fundamental book for the methodology of the studies, Patterns of Intention, in which, on the basis of a series of principles, he proposes an “inferential criticism” based on nature and fundamental affirmations that we support when we analyze a work of art. That is to say, “If we think or speak of a picture as, among other things, the product of situated volition or intention, what is it that we are doing?” He analyzes, for instance, the expectations that we have towards the work of art as bearer of the formal values of the period (How can we know them? What value they assume for us? How can we be sure that the public is aware of them?) He studies the relationships between the artist and his potential target, the artist and his colleagues, the artist and his client (Did they use common communicational codes? So then, how can we explain the changing of the taste during history? When we speak about “stylistic influence” what do we mean exactly?) Or, again, the relationship between the work of art and the scientific (or philosophical and economical) theories of its period (How can we affirm that the artistic product mirrors them, and if this reflection is intentional or not?)
All this, taking on Baxandall’s previous studies, is made more complicated from the fact that in order to express any critical judgment, we use a language that is not the one of the work of art, that is to say it’s not the visual or sensorial one. Rather, it is the cultural one, which belongs to the written language and bases itself on its own structures that change throughout time.
In the previously quoted text, the critical effort is displayed in four examples, which are different
for technical typology and periods: an iron bridge, the scotch Fort Bridge; Picasso’s Portrait of Daniel-Henry Kahnweiler; Chardin’s A Lady Taking Tea; and Piero della Francesca’s Baptism of Christ.
The chronological order is not respected, because the matter of method, though applied to different objects, must respect a formal rigour that transcends the specificity of the singular case (however bearing it in our mind).
Apart from that, and from some other few anomalous cases of methodological consciousness, especially in the phenomenological sphere, what would happen if the mental forms of contemporary art history were applied to the concrete production of exhibition catalogues, monographic studies or other scientific occasions, to medieval art? Or vice versa? If we read the Renaissance, as the manuals or the students of art history usually do, as “avant-garde” in the modern twentieth-century sense of the term, we will not understand neither its importance, nor its ways of diffusion, nor even the influences on (and from) the client’s taste.
The mimetic distance from the visual reality that an impressionist, or a futurist, or even a landscapist puts in his works, cannot be measured, neither on the basis of motivation nor on material ways, similar to the iconic allusiveness of Byzantine art. There is a feeling of the loss of references in metaphysical art, for instance, like how we feel when we look at Duchamp’s pissoir or bottle dryer, but also at a steady filming of a skyscraper.
Could this be possible in the art of the fourteenth century? The famous pipe, perfectly mimetic, doesn’t aim to be what it is, as the man of an Irish miniaturist of the early Middle Ages pretends to be what he is not, that is to say a material and recognizable reality.
The examples could be numerous.
Most contemporary critics base themselves on the outpouring of known facts regarding the author of the work of art seen in the work itself. From Picasso to Warhol to Haring we have a large documentation, which has built a sort of a daily agenda. But if we go back to the past ages where the information is fewer this agenda we are less likely to find. Hasn’t Cimabue only been a phase of Italian Art for the Anglo-Saxon world, losing a specific argumentum ad personam? (Not by chance, of his 50-year long activity as an artist we know only two concrete facts, as archival data). So, when we have a scheme of interpretation so lacking in details do we need to eliminate in the critical process the need to turn to biographic analysis? Yet, we are still attached to
the idea of genius and formal independence, especially in periods when the artist is quite far from contemporary representation. Some interpretations of medieval production as craftsmen clashed with the fondness for a history of art made of people, as we have been taught by Vasari: Yes, Antelami and Giotto are in fact multiple productive entities, but they are also – and they must be – identifiable as characters of an absolute level.
The idea of materiality opposed to the one of immateriality is not a key of interpretation exclusively based on the present age. Of course, the “immaterial values” that Bacon expresses with material choices in his manner of painting, in relation to the support constituted by the canvas, don’t follow the same of Titian.
Today, when with a plastic card pretending to be money (immaterial money) we buy two letters pretending to be a pair of jeans, or underwear, this doesn’t have a direct parallel to the Middle Ages, even if the signatures of Calvin Klein and Giotto have something in common. They express an immaterial value of quality with reference to the physicality of the object.
We don’t know what Piero della Francesca was thinking concerning the concrete values of his media, in his projects, perceptively rationalizing spaces and shapes. Sometimes we have the impression that he would gladly give up his tables, lime, and chalk if he had available realities that today we would define as more “virtual” (He could be thought as the remote patron of the supporters of Photoshop and AutoCAD).
While we all know very well Bill Viola’s theoretical speculations about technical devices able to overpass the instant temporality, in order to enter a tradition, that is, in the majority of the cases, deliberately and deeply “classic”.
Early on, Petrarch made a distinction between the learned elite and the uneducated public, between the expectations of the ones “who know” and the simpler ones “who don’t,” the stifling nature of ignorant evaluations like “Ah…look! What a nice painting! It seems like a picture!” and, “Look at this nice picture, it really seems like a painting!” always exist, and constitute the basis of a fundamental matter of art history.
From ancient Greek painters on, from Apelle‘s flowers and fruits, which seem so real that the birds crash into the wall in order to pick them up, some of the principles of evaluation have always been how far is the work of art from the reality that it portrays or suggests, if this distance is consciously achieved, or, vice versa, unintentional and not perceived and, finally, if it is permissible to see in the painting, or sculpture, something different from what materially we see.
In this way, without having any claim to offer a homogenous and coherent key of interpretation, or to be particularly original, it could be useful to have a look at some facts of the history of non-contemporary art regarding some ways to look beyond the materiality of the work of art. To show determinate objects, so it doesn’t count as an historical introduction, a sort of “history of art according to us,” but rather as a playful critical hint to highlight the critical course.
If we speak exactly about feeling of a loss of references, why we don ‘t remind ourselves of the scene in which Giotto, at the end of the thirteenth century, places the viewer from the “wrong side” with reference to the common senses? If we speak of “avant-garde”,
why don’t we call back the examples of conscious self-affirmations of the artist, as in Lanfranco’s, Wigelmo’s or Antelami’s eulogies in Northern Italy between the end of the eleventh and the beginning of the thirteenth century?
When we speak about “iconicity” in today’s art production, and nowadays we abuse this concept without having completely understood it, maybe it is better to keep in our mind a concrete example of Byzantine painting, and of the ways of its mental and visual fruition.
One of the biggest masterpieces of the Italian Renaissance is Piero della Francesca’s Legend of the True Cross, in the church of San Francesco in Arezzo.
As we know, the protagonist of the paintings is the sacred wood: born from Adam’s mouth, recognized by the queen of Sheba, hidden by Solomon, collected and employed to crucify the Savior, brought to light from Elena, mother of Constantine, and became the symbol of the new faith and the Christianization of the Roman Empire.
This is an event that is repeated and evocated through many other periods, whose main point is a common material that becomes extraordinary because it constitutes the physical object on which the death of God as human, the theological absolute reality of the foundation of Christianity, is carried out.
This is the only aim of the history.
But there is no crucifixion scene, it is a stage that is skipped, only physically recalled from the painted wooden cross placed on the altar, mentally perceived as the immaterial entity that this pictorial cycle has determined.
official web site: www.nybiennaleart.org/
official blog: nybiennaleart.blogspot.com/
The Journal asked writers and illustrators to contribute a series based on design icon Dieter Rams’ Ten Principles of Good Design manifesto. Each writer wrote on one of Rams’ principles; each illustrator reacted to a writer’s essay. This is the eight illustration from the ten-part series.
Aaron Heth wrote on Rams’ ninth principle, Good design is environmentally friendly. Mr Heth co-hosts Read Between the Leading, a podcast for design education and discussion. He recently graduated from Savannah College of Art & Design’s design program and is freelancing in the San Francisco area. Jeffrey Bowman created the above illustration based on Mr Heth’s essay. Mr Bowman works under the name Studio-Bowlegs. He is currently enrolled as MA student at The University of Huddersfield, and has designed for numerous clients, including Urban Outfitters, Computer Arts, and Nike.
[Image] A return to first principles in a #republic is sometimes caused by the simple virtues of one man. His good example has such an influence that the good men strive to imitate him, and the wicked are ashamed to lead a life so contrary to his example -Niccolo #Machiavelli
Biochemistry Update: Discover the latest professional resources in Biochemistry - wileyasia.wordpress.com/2012/10/31/biochemistry-update-di...
Excerpted from The Principles of Uncertainty by Maira Kalman. Reprinted by arrangement with The Penguin Press, a member of Penguin Group (USA), Inc. Copyright (c) October, 2007.
The Journal asked writers and illustrators to contribute a series based on design icon Dieter Rams’ Ten Principles of Good Design manifesto. Each writer wrote on one of Rams’ principles; each illustrator reacted to a writer’s essay. This is the seventh illustration from the ten-part series.
Joshua Brewer wrote on Rams’ second principle, Good design is useful. Mr Brewer is a San Francisco-based designer and the Director of User Experience at SocialCast. He co-founded 52 Weeks of UX, an educational online weekly centered around usability on the web. The Journal drew inspiration for the Rams series from Mr Brewer’s Week 8 post on Rams’ Principles. Adam Garcia created the above illustration based on Mr Brewer’s essay. Mr Garcia works under the studio name The Pressure. He is a graphic designer at Nike Sportswear and illustrates for local and national publications.
The principle on this poster that really catches my eye is the emphasis, because of the bright colors used to create a proportion. The colors give a fresh look to poster, which is really suitable to the meaning.
Source: www.fromupnorth.com/graphic-design-inspiration-1052/
Title of photo: #3
Objective 3: Elements and Principles of Design
Emphasis: The main focal point is in focus while the rest of the photo is out of focus. This draws the eye to the main focal point which is in the rule of thirds.
Contrast: The differences from the dark and light greens draws the eye to a specific point in the image with creates an area of emphasis.
Balance: The Balance between the light are dark is equal which draws the eye to all parts of the image.
Unity: The background is in harmony with the foreground of the photo.
Colour: The cool colours of the green of the leafs brings out a sense of belonging to the photo
Line: The horizontal lines of the branch leads the eye up the branch but still keeps the eye focused on the main focal point.
Tone: The differences between the dark and light brings value to the photo
Objective 4: Lighting
Soft diffused lighting from the clouds outside.
Objective 5: Post Production (ex. dust/spot removal, resize, contrast, white balance, sharpening, borders, etc.)
First I duplicated the layer then I went to High Pass under Filter, then other. This brings out the detail in the leaf and the water droplets on it. Then I used the curves to balance out my contrast. I sharpened my original layer to make it just a bit sharper. Then finally I resized my photo to upload it to Flickr.
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: Nature Photography
The camera mode (P, Tv, Av, M): AV, I used this setting to get more control over my aperture.
f stop used: F/5.7, I used this f stop number to get a shallow depth of field
shutter speed used: 1/400, this is the shutter speed that AV mode chose
ISO used: 200, because the lighting outside was bright, so I had to use a low ISO
Exposure compensation: -1, when I was taking the photo, the camera made the pictures too bright so I had to turn down the Exposure.
Focal length:55.0mm
Sorry about the nasty old scan...
What happens is that the binocular provides the magnification, 6x to 8x typically - and the front lens brings the subject distance from infinity up to the back focus distance of the lens. At the same time, because the 2 objectives are looking through opposite sides of the same lens, the lens also provides parallax correction, bringing both eyes to bear on the subject in the plane of focus.
The "power" of the front lens is generally defined as 250mm divided by its focal length - so for example, a 125mm lens would be considered a 2x magnifier. This becomes a multiple of the power of the binocular, so that a 125mm (2x) lens on the front of an 8x binocular becomes a 16 power microscope.
A great advantage of this optical design is working distance: if the front lens is a simple lens or achromat, its focal length is essentially equal to its back focus, so you have a 16x microscope that doesn't have to get closer than 5 inches from its subject. This is quite different from what you get with a stereo microscope of conventional design.
I used this for years to perform close inspection of injection molds while the mold was still mounted in the molding press, saving hours of labor with each use; I made a duplicate copy to sell to a moldmaking company whose owner had the opportunity to see this in practice.
The principles of design in this photo are contrast and emphasis. The dark colors of the shadow are emphasized against the light. To take this photo I went outside when the sun was setting and had a light shine through to cast a shadow. I think I did well with having the shadow contrast and show the shape of the person. One thing I would change is to have the light more even throughout the picture.
Clammy the Clam, keepin' it real.
Principles of good engineering come into play no matter what it is you're designing. Function must always be considered. When designing comically-oversized gloves for a mascot costume, they must be stylish and true to the character but they must also allow the wearer to perform the following four gestures at minimum:
1) "#1" finger point;
2) "Thumbs up!"
3) "Jazz hands," which from a glove-design point of view doubles as the "Home Alone" astonished cheek-plant position
4) The "double-Isaac."
Here, Clammy the Clam attempts to double-Isaac the photographer, but is stymied by his head, which is enormous even by mascot standards. Which means that even in a world populated entirely by freaks, the freaks can go somewhere and pay a dime to see a freakshow.
(Honestly, I have no idea what this guy's name is. But the declension of any mascot's name isn't tough: start with what they're supposed to be and then add an "-ey" suffix.)
Ground Zero Center for Nonviolent Action, Mother's Day 2008
Anti-war / anti-nuclear weapons activists converged on the Naval Submarine Base Kitsap-Bangor on Saturday May 10th, 2008 in a Mothers Day commemorative action. Participant's engaged in a traditional vigil and nonviolent civil resistance direct action to oppose the weapons of mass destruction as they exist in their offensive capacity on the base. The offensive capacity of the weapons is in contravention of several legally binding international agreements. Unfortunately, the United States Government is in flagrant violation of these treaties. The abnegation of international law by the Government of the United States of America imperils the world. Decision-makers behave in ways that are Machiavellian. They employ the Hobbesian model of power-politics where "might makes right" and the "ends justify the means", which is then applied to international discourse. However, there is a better way.
By respecting international laws and agreements, the United States can help to promote and create an international environment of equity and respect.
One of the problems with the trident nuclear missile programs is that in addition to their purported role as a well-intentioned defense, these missiles also serve as a basic international bully mechanism. The trident missile system deployed via Bangor submarine base is estimated to be capable of wreaking a several months' long nuclear winter over much of the globe.
Instead of operating in the realm of power-politics where the application, or the threat of application, of brute force hangs over international proceedings: I challenge the Government and the People of the USA to pursue a better way. I challenge the Gov't and People of the United States of America (including myself) to work for a foreign policy that truly values human rights, human dignity, human health, environmental health, fairness and equity, truth, honesty, respectfulness (for ourselves individually, for each other, and for the Earth). The means create the ends.
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.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!