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Students in the Jewish Museum's Teen Intern Program tour "Scenes from the Collection."
The Teen Intern Program offers students the opportunity to gain work experience by assisting professional educators in the Museum’s art studio and galleries, while simultaneously exploring art and Jewish culture, and developing their own creative interests. Photos by Matthew Carasella.
Character LCD controlled by Programmable XBee S2B module from Digi International.
e-prototypes.blogspot.com.es/2012/10/connect-character-lc...
2013 Grand-Am of the Americas by Gainsco & Total
Circuit of the Americas - Austin, TX
Grand-Am Rolex Sports Car Series
The United States Air Force Band String Quartet held a special concert on May 8, 2016 for His Majesty King Norodom Sihamoni, Her Majesty Queen Mother Norodom Monineath Sihanouk, and other invited guests to commemorate a performance that took place on May 9, 1956 in Phnom Penh at the invitation of the late King Norodom Suramarit and Queen Sisowath Monivong Kossomak Nearireath Serei Watana.
Joined by two Cambodian artists, The United States Air Force Band String Quartet played a mix of American, European, and Cambodian music, including two pieces by King Sihanouk that premiered in 1956.
The musicians concluded the 60th Anniversary Concert with a special birthday message for HM King Norodom Sihamoni and a heart-warming encore performance of "Monika" in honor of HM Queen Mother Norodom Monineath Sihanouk.
[U.S. Embassy photo by Un Yarat]
VS Aero Front Spoiler
VS Aero Rear Boot
Wheels:
20" VFE-404 Front
21" VFE-404 Rear
Finish
Brushed Dark Shadow Tint - gloss
Here are some luggage tags I recieved at my introduction meeting for the Disney College Program. They aren
t really that interesting, but I just got my digital camera I am taking with me to Florida, so I'm trying it out.
Programa Todos a Coro de TVN destacado, como el mejor programa de corte familiar, por su muestra en escena de integración, rehabilitación y superación de sus particpantes
Members of the World Beat drumming group trace how traditional African music traveled the United States and influenced jazz and rock and roll music
So here's how it works:
> Turning the aperture ring raises the "Diaphragm Bar" behind the lens. At f/2.8 it's completely below the lens opening, and at f/22 it's just below the lens centerline.
> When the mirror rises, it drags this panel up with it; the odd shaped hole in the middle is the shutter opening. The mirror/shutter rises just as fast as its spring can whack it, and returns at the same speed as soon as it reaches the top.
> At f/2.8, the shutter is open for the entire distance of travel shown in green above - it takes about 1/60 second to cover this distance. But at f/22, with the DIaphragm Bar up where the purple line indicates, the shutter doesn't open until it reaches that line, and it closes as soon as it passes that line on the way down. The entire movement takes the same time as before, but the open time is only the time that it takes to travel the distance shown by the purple arrows. Assuming that the speed at f/2.8 was 1/60, this works out to about 1/500 second.
> The aperture at f/22 (and at all other settings except for f/2.8) is in the shape of a triangle with its point at the top - the top 2 sides are the edges of the "roof" part of the shutter opening, and the bottom side is provided by the Diaphragm bar.
It's actually just a little more complicated than this. In the above description, the f/22 opening is not centered on the same axis as the f/2.8 opening, and in fact if the Diaphragm Bar actually went as high as the purple line it would block off the center of the lens. So, in addition to all of the above, at the smaller apertures, the mirror/shutter is actually stopping its upward travel earlier than it does at full aperture. How does it do this? In the view of the Diaphragm Bar at www.flickr.com/photos/rick_oleson/53225547915/in/dateposted/, there is a second, gold colored bar that's coupled to the Diaphragm Bar, with a bent-up tab at its tip. As the Diaphragm Bar rises, this gold bar comes down - the tab at the end is the stop that the mirror strikes against to stop its upward travel. The two bars are coupled together so that the mirror's stopping position produces a centered triangular aperture opening at all settings. Dang.
Whoever did this will probably never be famous - but he was good.
2023-03-14: President of the African Development Bank Group, Dr. Akinwumi A. Adesina affably greets Lamin G. Barrow, Director General of the Nigeria Country Office for the African Development Bank during the Digital and Creative Enterprises Program (i-DICE) Program.
Canadian Army Sergeant Major, Chief Warrant Officer Alain Guimond, talks with members of the National Sentry Program about the the tasking they are on before they take their post at the national War Monument in Ottawa, Ontario on 1 November 2017.
Photo: Sgt D.G. Janes
Directorate of Army Public Affairs
Leon and I entered the Internal Functional Programming Competition this year, he also wrote some visualisation software so we could see our bot in action.
Blue = cops, Red = robber, Green = our "infocloud" - Click on all sizes to see it animated.
Commander Ray Leung's change of command, taking over as commanding officer of The World Famous SCREWTOPS from exiting Commander Mark Seip.
(I asked, and the "World Famous" designation was given many years ago and few others have the title. Pretty cool.)
The joint test action group (JTAG) HS2 programming cable is a high-speed programming solution for Xilinx® field-programmable gate arrays (FPGAs). The cable is fully compatible will all Xilinx tools and can be seamlessly driven from iMPACT™, ChipScope™, and EDK. The HS2 attaches to target boards using Digilent's 6-pin, 100-mil spaced programming header or Xilinx's 2x7, 2mm connector and the included adaptor.
The School Lunch program at Dindi school increased school attendance and gave the students energy to learn. School lunches were largely made possible by the contributions of maize made by Mwandama farmers to grain banks.
Reception: Saturday, March 11, 5-7pm
Old Dog. New Tricks.
Shawn Panepinto
Exhibition dates: March 9 - April 28, 2023
Gallery 224 at the Ceramics Program, Office for the Arts at Harvard
ofa.fas.harvard.edu/ceramics/Gallery_224
Shawn Panepinto is a Boston area artist who recently retired as Director of Operations for The Ceramics Program, Office for the Arts at Harvard University. She graduated from Ridgewood College of Art in 1972, and graduated from The School of the Museum of Fine Arts in 1978. She has taught at The School of the Museum of Fine Arts, the Massachusetts Prison Art Program, The Radcliffe Pottery Studio, and was an instructor at the Ceramics Program Office for the Arts at Harvard for nearly 40 years. She was Director of Operations, Acting Director, and Program Coordinator for The Ceramics Program, and Assistant to the Director at The Radcliffe Pottery Studio. She was the recipient of a Radcliffe Exemplary Service Award, and a recipient of the Harvard Deans Distinction Award. Perhaps her most significant achievement was overseeing the Ceramics Program studio’s move from its basement location, and the new construction of its current location at 224 Western Ave in Allston, MA.
Shows and exhibitions include “”Five on Fire” at the Art Complex Museum, “A Class Act” at The Fuller Craft Museum, group show at Buckingham, Brown, and Nichols, co-curation of “The Art of Reuse, Renew, Recycle” at the Cabot Science Library at Harvard, ”Art Encounters Preservation” at Wentworth-Coolidge Mansion in Portsmouth, NH, “Home Team” at Gallery 224, “Selected Works” at Gallery 224, and “The State of Clay: Pushing Boundaries” at The Fuller Craft Museum.
Shawn’s new work in painting, collage and decollage is the evolution of her work in clay, and maintains her playfulness and sensitivity to color, form and rhythm.
Artist Statement
Old Dog. New Tricks.
After working for 40 years at the Harvard Ceramics Program, I wanted to experience the freedom of my newly acquired time in retirement within the smaller space of a home studio. The opportunity to create work for this show provided me with the inspiration to search for and explore new media and new techniques.
Abstraction, color, humor, and texture have always been important in my art. By replacing brushes with my ceramic tools, using a cold wax medium with newly discovered water- soluble oil paints, string, sculpting plaster, thick gesso, wax paper, tissue paper, watercolor and collage paper (printed and hand-painted), it was possible to bring a tactile dimension to my 2-D work. By layering the paint, sanding, scratching, and mark making, I was able to build depth. The result is a visible history of the layers below the surface.
When the pandemic hit, the dates for the show were put on hold. Like so many others during this time, I lost the incentive to work. So when I got a call to discuss possible dates for the show, I was re-energized by the feeling that the show was becoming a reality. My use of collage as an element led me to explore decollage, which involves the tearing away and restructuring of paper elements from collage. Now I could stretch out my ideas even farther. Some of the decollage pieces in this show feature my own ceramic work (some of which is also on display) as well as some items that are personal and some that are universal.
During the process of preparing for this exhibition, I learned to fly blind and trust my intuition and experience. I learned to accept my physical limitations and that any mistake can be turned into a new direction. I became fearless and, most importantly, stopped worrying that a piece had to be perfect.
I hope you enjoy some of these “new tricks” from an “old dog”.