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Technology Emigration Canyon, Uinta-Wasatch-Cache National Forest. Credit: US Forest Service.

The Synthesis Technology E340 Cloud Generator is just about to go into production. We should get modules in the next 4-5 weeks. This should be another unique oscillator amongst several that have been released recently. The price for the module is expected to be $299. LINK: www.synthtech.com/ .

The Future of Information Technology. by Jay Baker at Annapolis, MD.

My first attempt at off camera lighting. This an alignment, subject, "Disturbed". My son shows his frustration in which tool to use, By the way, in his left had is a slide ruler.

 

The screen is hard to read in this compressed version. The music player shows a song by the group Fear Factory called "Cloning Technology". This photo was taken for a photography competition held by Engadget. Better viewed larger.

The use of technology must have increased rapidly over the last year, in addition to using Flickr, I also use Zoom which I hadn't even heard of a year ago, but because of privacy conditions I could not illustrate it here.

#60 of 121 for 2021.

Presented in the Gartner Mastermind Keynote Interview

Mr. Rounder Makes the Rounds

Presented in the Gartner Mastermind Keynote Interview

With degrees offered at the intersection of technology, engineering and management, students gain project-based skills through their studies.

Introduction into E-Learning Technologies - part: Mobile Learning

Coaxial cable.

i dont know why it is there.

The old hardware in the bottom right needs clearing out.

Done for the group Macro Mondays. Theme for Monday, May 25: Technology.

 

I was given this bluetooth earpiece for Christmas this past year, and it has been very useful. For a bit of perspective, it has a diameter of 1 cm.

Saama Technologies is an IT company.

Presented in the Gartner Mastermind Keynote Interview

INSTALAÇÕES | INSTALLATIONS

 

Ali Miharbi - Movie Mirrors - Estados Unidos | United States

Anne Save de Beaurecueil + Franklin Lee / Equipe SUBdV (Victor Sardenberg, André Romitelli, Lucas de Sardi & Fabrício G. de Oliveira) - High Low - Brasil | Brazil

Annica Cuppetelli & Cristobal Mendoza - Nervous Structure - Estados Unidos | United States

Ben Jack - Elucidating Feedback - Nova Zelândia | New Zealand

Eric Siu - in collaboration with the member of Ishikawa Komuro Laboratory, University of Tokyo, Yoshihiro Watanabe, Ohno Hiroaki & Takeoka Hideki - Body Hack 1.0 - Japão | Japan

Hye Yeon Nam - Please Smile - Estados Unidos | United States

Joon Y. Moon - Augmented Shadow - Coréia do Sul | South Korea

Julian Palacz - algorithmic search for Love - Áustria | Austria

Juliana Mori - timeLandscape - wool rhythms - Brasil | Brazil

Karina Smigla-Bobinski - ADA - analoge interactive kinetic sculpture - Polônia e Alemanha | Poland and Germany

Kimchi & Chips - Link - Reino Unido | United Kingdom

Kimchi & Chips - Journey: Seoul - Reino Unido | United Kingdom

Lars Lundehave Hansen - Spiderbytes - Alemanha | Germany

Lawrence Malstaf - Nemo Observatorium 02002 - Bélgica | Belgium

Matt Roberts - Waves - Estados Unidos | United States

Ryoichi Kurokawa - rheo: 5 horizons - Bélgica | Belgium

Yujiro Kabutoya & Kazushi Mukaiyama - IJIROS - Japão | Japan

 

HIPERSÔNICA | HYPERSONICA PERFORMANCE

 

Alfredo Ciannameo - Ionesis - sonic plasma - Holanda | Netherlands

André Rangel, Anne-Kathrin Siegel & Fernando Alçada - SynDyn - Portugal | Portugal

Eduardo Nespoli, Projeto Aquarpa (Thiago Salas Gomes, Lucas Almeida, Flavio Jacon de Vasconcelos & Leandro Pereira Souza) - Mnemorfoses - Brasil | Brazil

Eduardo Patrício - Zin - Brasil | Brazil

Euphorie - França | France

Giuliano Obici - Concerto para Lanhouse - Brasil | Brazil

Nicolas Maigret - Pure Data read as pure data - França | France

 

HIPERSÔNICA | HYPERSONICA SCREENING

 

Alison Clifford & Graeme Truslove - Substratum - Reino Unido | United Kingdom

Fernando Velázquez - auto-retrato - Brasil | Brazil

Fernando Velázquez - the mindscapes suite - Brasil | Brazil

Jaap: Harriet Payer & Jorge Esquivelzeta - Cyberspace Photsynthesis - México | Mexico

Jaap: Harriet Payer & Jorge Esquivelzeta - Dog's Eye View - México | Mexico

Paul O Donoghue aka Ocusonic - Phasing Waves - Irlanda | Ireland

Warsaw Electronic Festival 2010: Przemyslaw Moskal - Digital Sculptures for Analog Sounds - Estados Unidos | United States

 

HIPERSÔNICA PARTICIPANTES | HYPERSONICA PARTICIPANTS

 

Alvaro X - Dead in DUMP - Brasil | Brazil

Bernhard Loibner - Unidentified Musical Subject - Áustria | Austria

Claudio Parodi - The things that are missing - Itália | Italy

CLEBER GAZANA | SIMPLE.NORMAL - F. WILL I DREAM? - Brasil | Brazil

DANIEL GAZANA - NOSOCÔMIO - Brasil | Brazil

Joaquin Cofreces - Hamoni Lapude Anan ( "we used to make canoes" in yaghan language) - Argentina | Argentina

The Tiny Orchestra - Time Wounds All Heels - Canadá | Canada

Juan Pablo Amato - Duo Encaprichado en alisar rugosidades mentales - Argentina | Argentina

Mauro Ceolin - Spore's Ytubesoundscape and his wildlife - Itália | Italy

Panayiotis KOKORAS - Magic - Grécia | Greece

FaoBeat - Beat'nTime / Lift'nBeat - Brasil | Brazil

Philip Mantione - Fabrics - Estados Unidos | United States

Music For Installations - Braindamage - Bélgica | Belgium

RINALDO SANTOS - MUSICONTOS - Brasil | Brazil

Sergio Cajado - Constatações Urbanas - Passado, Presente e Futuro - Brasil | Brazil

Sergio Granada Moreno - Digital Rainbow (2009) - Colombia | Colombia

Sol Rezza - Preguntas - Questions - México | Mexico

 

MÍDIA ARTE | MEDIA ART

 

A. Bill Miller - gridSol-precomps - Estados Unidos | United States

A. Bill Miller - gridSol-altar1 - Estados Unidos | United States

Aaron Oldenburg - After - Estados Unidos | United States

Agam (A.) Andreas - La Resocialista Internacional - Holanda | Netherlands

alan bigelow - This Is Not A Poem - Estados Unidos | United States

Alcione Godoy, Camillo Louvise, Bruno Azzolini, Rafael Araujo, Rodolfo Rossi, Marina Maia & Vinicius Nakamura - Hipercepção - Brasil | Brazil

Alex Hetherington - Linda Fratianne - Reino Unido | United Kingdom

Anders Weberg - P2P ART - The aesthetics of ephemerality - Suécia | Sweden

Anders Weberg - JE SUIS PÈRE ET MON PÈRE EST PÈRE I'm a Father and my Father is a Father - Suécia | Sweden

Anders Weberg - Expose Yourself - Suécia | Sweden

Anstey/Pape: Josephine Anstey & Dave Pape - Mrs. Squandertime - Estados Unidos | United States

Balam Soto - Self Portrait Videos - Estados Unidos | United States

Bárbara de Azevedo - VIDEO ESTADO SIMULACRO CINEMATOGRÁFICO - Brasil | Brazil

Ben Baker-Smith - Infinite Glitch - Estados Unidos | United States

Brit Bunkley - Pardox of Plenty - Nova Zelândia | New Zealand

Brit Bunkley - Up River Blues - Nova Zelândia | New Zealand

Brit Bunkley - Springfield Paradox - Nova Zelândia | New Zealand

Bruno Xavier, Fabiane Zambon, Felipe van Deursen, Frederico Di Giacomo & Kleyson Barbosa (Equipe principal) | Ana Freitas, Ana Prado, André Sirangelo, Alisson Lima, André Maciel, Alexandre Versignassi, Dalton Soares, Daniel Apolinario, Douglas Kawazu, Emiliano Urbim, Érica Georgino, Leandro Spett, Gil Beyruth, Gustavo Frota, Marina Motomura, Maurício Horta, Rafael Kenski, Renata Aguiar & Simone Yamamoto (Parceiros e colaboradores) - Newsgames da Superinteressante - Brasil | Brazil

charly.gr - peronismo (spam) - Argentina | Argentina

charly.gr - Joan - Argentina | Argentina

Chen, I-Chun - Measuring Distance Between the Self and Others - Taiwan | Taiwan

chiara passa - the virtual prigione - Itália | Italy

Christopher Otto - PXLPNT - Estados Unidos | United States

Cleber Gazana / Daniel Gazana - UNTITLED - Brasil | Brazil

Daniel Duda - Araucaria angustifolia - Brasil | Brazil

David Muth - 1 C A a 01x - Reino Unido | United Kingdom

David Sullivan - Fugitive Emissions - Estados Unidos | United States

Doron Golan - Waking Quad - Israel | Israel

Douglas de Paula - Interfaces Predatórias / Plundering Interfaces - Brasil | Brazil

Elétrico: Ludmila Pimentel, Carolina Frinhani & Bruna Spoladore - Experimento de Corpo - Brasil | Brazil

Grupo Vertigem: Juliana Rodrigues, Natalia Santana & Ygor Ferreira - Downtown 2.0 - Brasil | Brazil

Jarbas Agnelli - Birds on the Wires - Brasil | Brazil

Jason Nelson - Sydney's Sibera - Austrália | Australia

Jessica Barness - Common Sounds: Positive Elements, Negative Spaces - Estados Unidos | United States

Joana Moll & Heliodoro Santos - THE TEXAS BORDER - Espanha | Spain

jody zellen - Lines of Life - Estados Unidos | United States

Jorn Ebner - (L'ultimo turista) - Alemanha | Germany

jtwine - ONSPEED - Estados Unidos | United States

Kenji Kojima - RGB Music News - Estados Unidos | United States

kinema ikon: calin man - kinema ikon - Romênia | Romania

Leyla Rodriguez & Cristian Straub - Isle Of Lox "The face" - Alemanha | Germany

Luca Holland - rain.html - Reino Unido | United Kingdom

Luis Henrique Rodrigues - Internet Series - Brasil | Brazil

Luiz Gustavo Ferreira Zanotello - N.A.V.E - Brasil | Brazil

MALYSSE - THE BIOPERVERSITY PROJECT #1 - Brasil | Brazil

Matt Frieburghaus - Song - Estados Unidos | United States

mchrbn - Afghan War Diary - Suíça | Switzerland

Members: Aymeric Mansoux, Dave Griffiths and Marloes de Valk - Naked on Pluto - Holanda | Netherlands

Michael Takeo Magruder - Data Flower (Prototype I) - Reino Unido | United Kingdom

Nagasaki Archive Committee: Hidenori Watanave, Tomoyuki Torisu, Ryo Osera & others - Nagasaki Archive - Japão | Japan

Nanette Wylde - MettaVerse - Estados Unidos | United States

Nicholas Economos - Apophenia - Estados Unidos | United States

Nicholas Knouf - Journal of Journal Performance Studies (JJPS) - Estados Unidos | United States

Nurit Bar-Shai - FUJI spaces and other places - Estados Unidos | United States

Osvaldo cibils- everything breathes - Itália | Italy

Owen Eric Wood - Return - Canadá | Canada

Paolo Cirio - Drowning NYC - Reino Unido | United Kingdom

Quayola - Strata Series - Bélgica | Belgium

rachelmauricio - [[o]] - Brasil | Brazil

rachelmauricio - 3Y - Brasil | Brazil

rachelmauricio - ldj8jbl - Brasil | Brazil

Rayelle Niemann & Erik Dettwiler - www.citysharing.ch - Suíça | Switzerland

Remco Roes - Everything in between - Bélgica | Belgium

rage - Impermanência Formal - Brasil | Brazil

Representa Corisco: Vj Eletroman - Representa Corisco - Espanha | Spain

Richard J O'Callaghan - 'thechildrenswar' - Reino Unido | United Kingdom

Rodrigo Mello - Faces - Brasil | Brazil

Rosa Menkman - Collapse of PAL - Holanda | Netherlands

Santiago Ortiz - Impure - Espanha | Spain

seryozha kOtsun - Synesthesiograph - Rússia | Russia

Stuart Pound - Green Water Dragon - Reino Unido | United Kingdom

Stuart Pound - Time Code - Reino Unido | United Kingdom

TAMURA YUICHIRO - NIGHTLESS - Japão | Japan

TOMMY PALLOTTA: Submarine Channel - Collapsus: The Energy Risk Conspiracy - Holanda | Netherlands

Vladimir Todorovic - The Snail on the Slope - Singapura | Singapore

Vladimir Todorovic - Silica-esc - Singapura | Singapore

 

MAQUINEMA | MACHINIMA

 

André Lopes aka spyvspy aeon - Clockwork - Brasil e Portugal | Brazil and Portugal

André Lopes aka spyvspy aeon & slimgirlfat - MooN - Brasil e Portugal | Brazil and Portugal

Bernard Capitaine aka Iono Allen - Fears - França | France

Bernard Capitaine aka Iono Allen - Fusion - França | France

BobE Schism - Love Is Sometimes Colder Than Ice - Reino Unido | United Kingdom

C.-D. Schulz aka Rohan Fermi - 9 - Alemanha | Germany

C.-D. Schulz aka Rohan Fermi - Order in chaos - Alemanha | Germany

Chat Noir Studios: Sherwin Liu & Kate Lee - Death in Venice - Estados Unidos | United States

Chat Noir Studios: Sherwin Liu & Kate Lee - Incubus - Estados Unidos | United States

David Griffiths aka nebogeo - Missile Command - Finlândia | Finland

Evan Meaney - The Well of Representation - Estados Unidos | United States

Gottfried Haider - Hidden in plain sight - Áustria | Austria

Harrison Heller aka Nefarious Guy & Amorphous Blob Productions - Clockwise: Part 1 - Estados Unidos | United States

Harrison Heller aka Nefarious Guy & Amorphous Blob Productions - Stop, Rewind - Estados Unidos | United States

Henry Gwiazda - history - Estados Unidos | United States

Henry Gwiazda - infectious - Estados Unidos | United States

Iain Friar aka IceAxe - Trichophagia - Reino Unido | United Kingdom

Jun Falkenstein, Ben Covi, Brad Mitchell & Pete Terrill - The Lake - Estados Unidos | United States

Kerria Seabrooke & Paul Jannicola - Tiny Nation - Estados Unidos | United States

LES RICHES DOUANIERS: Gilles RICHARD & Fabrice ZOLL - The Lonely Migrant - França | France

Nonsense Studio: Drozhzhin, TimaGoofy, ultraviolet, ElGrandeBigB, Radiated & Takuhatsu - Johnny Cash - God's gonna cut you down - Finlândia | Finland

Pierre Gaudillere, Thomas Van Lissum, Oliver Delbos, Audrey Le Roy & Jonnathan Mutton - Unheimliche - França | France

Piotr Kopik - Psychosomatic rebuilders animation #002 - Polônia | Polland

Piotr Kopik - Psychosomatic rebuilders emoticons machinima - Polônia | Polland

Pooky Amsterdam, Draxtor Despres & Samuel's Dream - I'm Too Busy To Date Your Avatar! - Estados Unidos | United States

Saskia Boddeke aka Rose Borchovski - Lost in counting - Holanda | Netherlands

Saskia Boddeke aka Rose Borchovski - WHY IS THERE SOMETHING? Part 5: Greek Myth, The Battle of the Gods - Holanda | Netherlands

Saskia Boddeke aka Rose Borchovski - WHY IS THERE SOMETHING? Part 6: Israel Myth, The punishment - Holanda | Netherlands

Tom Jantol - Dear Fairy - Croácia | Croatia

Tom Jantol - Duel (Part) - Croácia | Croatia

Tom Jantol - The Remake - Croácia | Croatia

Tony Bannan aka ammopreviz - Selfish Gene - Austrália | Australia

Trace Sanderson aka Lainy Voom - Ctrl-Alt-Del - Reino Unido | United Kingdom

Trace Sanderson aka Lainy Voom - Dagon - HP Lovecraft - Reino Unido | United Kingdom

Tutsy Navarathna - My familiar dream - Índia | India

 

DOCUMENTA

 

Garry Shepherd – Global Shuffle - Austrália | Australia

Jim Haverkamp e Brett Ingram – Armor of God – Estados Unidos | United States

Khaled D. Ramadan – Psychic-Dentity - Dinamarca | Denmark

Lucius C. Kuert – Project 798, New Art In New China – China | China

Teilo Vallacott e J.A. Molinari – Altered_Egos – Reino Unido | United Kingdom

Vincenzo Lombardo – The VEP Project – Itália | Italy

Watch Mojo - A História do Daft Punk – Canadá | Canada

 

FILE ANIMA+

 

8-Bits Team: Valere Amirault, Jean Delaunay, Sarah Laufer & Benjamin Mattern - 8-Bits - França | France

Alan Becker - Animator Vs Animation - Estados Unidos | United States

Alessandro Novelli - The Alphabet - Itália | Italy

Alexander Gellner - 1 Minute Puberty - Alemanha | Germany

Andrew Huang - The Gloaming - Estados Unidos | United States

Ben Thomas & Leo Bridle - Train of Thought - Inglaterra | England

Birdo Studio: Luciana Eguti & Paulo Muppet - Bonequinha do Papai - Brasil | Brazil

Birdo Studio: Luciana Eguti & Paulo Muppet - Caixa - Brasil | Brazil

Birdo Studio: Luciana Eguti, Paulo Muppet & Allan Sieber - Animadores - Brasil | Brazil

Birdo Studio: Luciana Eguti, Paulo Muppet & Jimmy Leroy - Pequeno Cidadão - Brasil | Brazil

Brendan Angelides & Cyriak Harris - Eskmo - Estados Unidos | United States

Christopher Alender - Eye of The Storm - Estados Unidos | United States

Coala Filmes: Cesar Cabral - Dossiê Rê Bordosa - Brasil | Brazil

Dante Zaballa & Matias Vigliano - The Head - Argentina | Argentina

David O’Reilly - Please Say Something - Irlanda e Alemanha | Ireland and Germany

David O’Reilly - The External World - Irlanda e Alemanha | Ireland and Germany

David Wilson - Japanese Popstars “Let Go” - Inglaterra | England

Dominik Käser, Martin-Sebastian Senn, Mario Deuss, Niloy J. Mitra & Mark Pauly - Silhouettes of Jazz - Estados Unidos | United States

Esteban Diácono - Ólafur Arnalds - Ljósið - Argentina | Argentina

Fábio Yamagi & Denis Kamioka ‘Cisma’ - Photocopy Romance - Brasil | Brazil

Fernando Sanches - Xixi no Banho - Brasil | Brazil

Gabrielle Lissot, Pierre Lippens, Laurent Jaffier & Nicolas Deprez - Tous Des Monstres (All Monsters) - França | France

Guilherme Marcondes - Tyger - Brasil | Brazil

Guillermo Madoz - Head Honcho - Argentina | Argentina

Hi-Sim - Jump - Inglaterra | England

Home de Caramel - Alone Together - Espanha | Spain

Jasmin Lai - Brave - Estados Unidos e Tailândia | United States and Thailand

Jason Wishnow - Oedipus - Inglaterra | England

Jean-Paul Frenay - Artificial Paradise, Inc - Bélgica e França | Belgium and France

Joanna Lurie - Tree’s Migration - França | France

Joaquin Baldwin - Sebastian's Voodoo - Estados Unidos | United States

Joaquin Baldwin - The Windmill Farmer - Estados Unidos | United States

Ken Turner - TIM - Canadá | Canada

Lee Tao - Seedling - Canadá / Canada

Lemeh42 - Wool & Water - Itália / Italy

Leszek Plichta - Dreammaker - Polônia e Alemanha | Polland and Germany

Malcolm Sutherland - Bout - Canadá | Canada

Malcolm Sutherland - Umbra - Canadá | Canada

Marc Silver - There Are No Others - Inglaterra | England

Marlies van der wel - Protest Flatness - Holanda | Netherlands

Martin Piana - LUMI - Argentina | Argentina

Martin Woutisseth - Stanley Kubrick, a filmography - França | France

Matatoro Team: Mauro Carraro, Raphaël Calamote & Jérémy Pasquet - Matatoro - França | France

Matthias Hoegg - August - Inglaterra | England

Matthias Hoegg - Thrusday - Inglaterra | England

Max Hattler - SPIN - Inglaterra | England

Meindbender Animation Studio - The Pirate - Suécia | Sweden

Michael Paul Young - The Interpretation - Estados Unidos | United States

Michal Socha - Chick - Polônia | Polland

Michal Socha - Koncert - Polônia | Polland

Mr McFly - Baseball - França | France

MUSCLEBEAVER: Tobias Knipf & Andreas Kronbeck - How your money works - Alemanha | Germany

Napatsawan Chirayukool - What makes your day? - Tailândia e Inglaterra | Thailand and England

Pahnl - Nowhere near here - Inglaterra | England

Peppermelon TV - Advanced Beauty - Inglaterra e Estados Unidos | England and Unites States

Peppermelon TV - First - Inglaterra e Estados Unidos | England and Unites States

Peppermelon TV - Target - Friends with you - Inglaterra e Estados Unidos | England and Unites States

Robert Seidel - Vellum - Alemanha | Germany

Rogier van der Zwaag Nobody Beats The Drum - Grindin - Holanda | Netherlands

Ross Phillips - 5 Second Projects ( Ballons) - Inglaterra | England

Ross Phillips - 5 Second Projects ( Reverse) - Inglaterra | England

Sasha Belyaev - The Rite of Youth - Letônia | Latvia

Scott Pagano - Pororoca - Estados Unidos | United States

Scott Pagano - Trust In The 'M' Machine - Estados Unidos | United States

Serene Teh - Parkour - Cingapura | Singapore

Stephen Irwin - Black Dog's Progress - Inglaterra | England

Stephen Irwin - Horse Glue - Inglaterra | England

Sylvain Marc - Cocotte Minute - França | France

Sylvain Marc - Fertilizer Soup - França | France

Tanya Aydostian - L'autre - França | France

Taylor Price - Hunt - Canadá e Estados Unidos | Canada and United States

Treat Studios - E4 - Inglaterra | England

Veronika Obertová - Viliam - Eslováquia | Slovakia

Wesley Rodrigues - Pinga com Saquê - Brasil | Brazil

Zach Cohen - The Chair Not Taken - Itália | Italy

Andrew Ruhemann & Shaun Tan - The Lost Thing - Austrália / Australia

Animatório - Neomorphus - Brasil | Brazil

Bertrand Bey & Pierre Ducos - La Détente - França | France

Birdo Studio: Luciana Eguti, Paulo Muppet & Amir Admoni - Monkey Joy - Brasil | Brazil

Coala Filmes: Cesar Cabral - Tempestade - Brasil | Brazil

Fábio Yamaji - O Divino, de repente - Brasil | Brazil

Max Loubaresse, Marc Bouyer & Anthony Vivien - Salesman Pete - França | France

 

GAMES

 

Adam Saltsman & Danny Baranowsky - Canabalt - Estados Unidos | United States

Alex May & Rudolf Kremers - Eufloria - Reino Unido

| United Kingdom

Alexander Bruce - Hazard: The Journey of Life - Austrália | Australia

Binary Tweed - Clover: a Curious Tale - Reino Unido | United Kingdom

Cats in the Sky - Cargo Delivery - Brasil | Brazil

Christoffer Hedborg - Toys - Suécia | Sweden

Colibri Games - The Tiny Bang Story - Rússia | Russia

Edmund McMillen & Tommy Refenes - Super Meat Boy - Estados Unidos | United States

ENJMIN - Paper Plane - França | France

Evan Blaster - Infinite Blank - Estados Unidos | United States

Frictional Games - Amnesia: The Dark Decent - Suécia | Sweden

Gaijin Games - BIT TRIP BEAT - Estados Unidos | United States

Kiaran Ritchie, Jasmine Ritchie & Francisco Furtado - Beep Game - Canadá | Canada

Mark Essen - "Nidhogg" - Estados Unidos | United States

Mediatronic - Monsters Probably Stole My Princess - Reino Unido | United Kingdom

Nicklas Nygren - Saira - Suécia | Sweden

Paolo Pedercini / Molleindustria - "Every Day The Same Dream" - Estados Unidos e Itália | United States and Italy

Richard E Flanagan / Phosfiend Systems - FRACT - Canadá | Canada

Spaces of Play - Spirits - Alemanha | Germany

State of Play Games - Lume - Reino Unido | United Kingdom

Tales of Tales - The Path - Bélgica | Belgium

 

FILE TABLET

 

Aircord: Toshiyuki Hashimoto, Masato Tsutsui & Koichiro Mori – REFLECTION – Japão | Japan

Alex Komarov & Sergey Rachok – ACCORDION – Estados Unidos e Rússia | United States and Russia

Cruz-Diez Foundation - CRUZ-DIEZ "INTERACTIVE CHROMATIC RANDOM EXPERIENCE" – Venezuela | Venezuela

Fingerlab: Antoine Lepoutre & Aurélien Potier – MULTIPONG – França | France

Jason Waters – SPIROGROW – Estados Unidos | United States

Jay Silver & Eric Rosenbaum - SINGING FINGERS – Estados Unidos | United States

Nate Murray & TJ Fuller - IPAD GAME FOR CATS - Estados Unidos | United States

Pavel Doichev - ART IN MOTION – Estados Unidos | United States

Pavel Doichev - LINE ART – Estados Unidos | United StatesPavel Doichev – TESLA – Estados Unidos | United States

Rob Fielding – MUGICIAN – Estados Unidos | United States

RunSwimFly - Richard Harrison – GLOOP - Austrália | Australia

Scott Snibbe – ANTOGRAPH (ou MYRMEGRAPH) – Estados Unidos | United States

Scott Snibbe – BUBBLE HARP – Estados Unidos | United States

Scott Snibbe – GRAVILUX – Estados Unidos | United States

Scott Snibbe – OSCILLOSCOOP – Estados Unidos | United States

Scott Snibbe – TRIPOLAR – Estados Unidos | United States

Smule - MAGIC FIDDLE – Estados Unidos | United States

Spaces of Play: Mattias Ljungstrom, Marek Plichta, Andreas Zecher & Martin Strak – SPIRITS – Alemanha | Germany

Ted Davis - TEXT2IMAGE – Estados Unidos | United States

Typotheque / Resolume - DANCE WRITER – Estados Unidos | United States

 

WORKSHOP

 

Workshop Fiesp - AA School: Franklin Lee, Robert Stuart Smith (Kokkugia), Anne Save de Beaurecueil (SUBdV), Sandro Tubertini (Environmental Engineering Agency, BDSP), Thiago Mundim, Ernesto Bueno, Arthur Mamou-Mani, Arya Safavi, Yoojin Kim & Victor Sardenberg

Parametric Architecture - Reino Unido | United Kingdom

Sandia National Laboratories engineer John Dillinger tests the security of a cargo container. Testing and evaluating new cargo security technologies has been a partnership between Sandia, the Space and Naval Warfare Systems Command (SPAWAR) Systems Center Pacific (SSC Pacific) and the Department of Homeland Security (DHS). Since 2001, DHS has been required to secure the storage and transportation of cargo entering and traveling through the United States against terror attack, introduction of contraband cargo and pilferage. The Navy must ensure, at all times, the security of high-value cargo, such as munitions, that it stores and transports around the world.

 

Read more at bit.ly/2MQpos8.

 

Photo by Randy Montoya.

Presented in the Gartner Mastermind Keynote Interview

It is easily crumbled to be added to a lit coal in an incense burner. There are a lot of other scents stored elsewhere.

The frankincense was of good quality.

 

Incense is aromatic biotic material that releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for aesthetic reasons, and in therapy, meditation, and ceremony. It may also be used as a simple deodorant or insectifuge.

 

Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing number of uses.

 

Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases a smoky fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.

 

A variety of incense cones which thankfully were not overly sweet. I am sad to have likely lost this annual Toronto ON sconce of incense cones.

 

Incense is aromatic biotic material that releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for aesthetic reasons, and in therapy, meditation, and ceremony. It may also be used as a simple deodorant or insectifuge.

 

Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing number of uses.

 

Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases a smoky fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.

 

HISTORY:

 

The word incense comes from Latin incendere meaning "to burn".

 

Combustible bouquets were used by the ancient Egyptians, who employed incense in both pragmatic and mystical capacities. Incense was burnt to counteract or obscure malodorous products of human habitation, but was widely perceived to also deter malevolent demons and appease the gods with its pleasant aroma. Resin balls were found in many prehistoric Egyptian tombs in El Mahasna, giving evidence for the prominence of incense and related compounds in Egyptian antiquity. One of the oldest extant incense burners originates from the 5th dynasty. The Temple of Deir-el-Bahari in Egypt contains a series of carvings that depict an expedition for incense.

 

The Babylonians used incense while offering prayers to divining oracles. Incense spread from there to Greece and Rome.

 

Incense burners have been found in the Indus Civilization (3300–1300 BCE). Evidence suggests oils were used mainly for their aroma. India also adopted techniques from East Asia, adapting the formulation to encompass aromatic roots and other indigenous flora. This was the first usage of subterranean plant parts in incense. New herbs like Sarsaparilla seeds, frankincense, and cypress were used by Indians.

 

At around 2000 BCE, Ancient China began the use of incense in the religious sense, namely for worship. Incense was used by Chinese cultures from Neolithic times and became more widespread in the Xia, Shang, and Zhou dynasties. The earliest documented use of incense comes from the ancient Chinese, who employed incense composed of herbs and plant products (such as cassia, cinnamon, styrax, and sandalwood) as a component of numerous formalized ceremonial rites. Incense usage reached its peak during the Song dynasty with numerous buildings erected specifically for incense ceremonies.

 

Brought to Japan in the 6th century by Korean Buddhist monks, who used the mystical aromas in their purification rites, the delicate scents of Koh (high-quality Japanese incense) became a source of amusement and entertainment with nobles in the Imperial Court during the Heian Era 200 years later. During the 14th-century Ashikaga shogunate, a samurai warrior might perfume his helmet and armor with incense to achieve an aura of invincibility (as well as to make a noble gesture to whoever might take his head in battle). It wasn't until the Muromachi period during the 15th and 16th century that incense appreciation (kōdō) spread to the upper and middle classes of Japanese society.

 

COMPOSITION:

 

A variety of materials have been used in making incense. Historically there has been a preference for using locally available ingredients. For example, sage and cedar were used by the indigenous peoples of North America. Trading in incense materials comprised a major part of commerce along the Silk Road and other trade routes, one notably called the Incense Route.

 

Local knowledge and tools were extremely influential on the style, but methods were also influenced by migrations of foreigners, such as clergy and physicians.

 

COMBUSTIBLE BASE:

 

The combustible base of a direct burning incense mixture not only binds the fragrant material together but also allows the produced incense to burn with a self-sustained ember, which propagates slowly and evenly through an entire piece of incense with such regularity that it can be used to mark time. The base is chosen such that it does not produce a perceptible smell. Commercially, two types of incense base predominate:

 

Fuel and oxidizer mixtures: Charcoal or wood powder provides the fuel for combustion while an oxidizer such as sodium nitrate or potassium nitrate sustains the burning of the incense. Fragrant materials are added to the base prior to shaping, as in the case of powdered incense materials, or after, as in the case of essential oils. The formula for charcoal-based incense is superficially similar to black powder, though it lacks the sulfur.

Natural plant-based binders: Gums such as Gum Arabic or Gum Tragacanth are used to bind the mixture together. Mucilaginous material, which can be derived from many botanical sources, is mixed with fragrant materials and water. The mucilage from the wet binding powder holds the fragrant material together while the cellulose in the powder combusts to form a stable ember when lit. The dry binding powder usually comprises about 10% of the dry weight in the finished incense. These include:

Makko (incense powder) made from the bark of various trees in the genus Persea (such as Persea thunbergii) Xiangnan pi (made from the bark of trees of genus Phoebe such as Phoebe nanmu or Persea zuihoensis.

 

Jigit: a resin based binder used in India

Laha or Dar: bark based powders used in Nepal, Tibet, and other East Asian countries.

 

Typical compositions burn at a temperature between 220 °C and 260 °C.

 

TYPES:

 

Incense is available in various forms and degrees of processing. They can generally be separated into "direct-burning" and "indirect-burning" types. Preference for one form or another varies with culture, tradition, and personal taste. The two differ in their composition due to the former's requirement for even, stable, and sustained burning.

 

INDIRECT-BURNING:

 

Indirect-burning incense, also called "non-combustible incense", is an aromatic material or combination of materials, such as resins, that does not contain combustible material and so requires a separate heat source. Finer forms tend to burn more rapidly, while coarsely ground or whole chunks may be consumed very gradually, having less surface area. Heat is traditionally provided by charcoal or glowing embers. In the West, the best known incense materials of this type are the resins frankincense and myrrh, likely due to their numerous mentions in the Bible. Frankincense means "pure incense", though in common usage refers specifically to the resin of the boswellia tree.

 

Whole: The incense material is burned directly in raw form on top of coal embers.

Powdered or granulated: Incense broken into smaller pieces burns quickly and provides brief but intense odour.

 

Paste: Powdered or granulated incense material is mixed with a sticky incombustible binder, such as dried fruit, honey, or a soft resin and then formed to balls or small pastilles. These may then be allowed to mature in a controlled environment where the fragrances can commingle and unite. Much Arabian incense, also called "Bukhoor" or "Bakhoor", is of this type, and Japan has a history of kneaded incense, called nerikō or awasekō, made using this method. Within the Eastern Orthodox Christian tradition, raw frankincense is ground into a fine powder and then mixed with various sweet-smelling essential oils.

 

DIRECT-BURNING:

 

Direct-burning incense, also called "combustible incense", is lit directly by a flame. The glowing ember on the incense will continue to smoulder and burn the rest of the incense without further application of external heat or flame. Direct-burning incense is either extruded, pressed into forms, or coated onto a supporting material. This class of incense is made from a moldable substrate of fragrant finely ground (or liquid) incense materials and odourless binder. The composition must be adjusted to provide fragrance in the proper concentration and to ensure even burning. The following types are commonly encountered, though direct-burning incense can take nearly any form, whether for expedience or whimsy.

 

Coil: Extruded and shaped into a coil without a core, coil incense can burn for an extended period, from hours to days, and is commonly produced and used in Chinese cultures.

 

Cone: Incense in this form burns relatively quickly. Incense cones were invented in Japan in the 1800s.

Cored stick: A supporting core of bamboo is coated with a thick layer of incense material that burns away with the core. Higher-quality variations have fragrant sandalwood cores. This type of incense is commonly produced in India and China. When used in Chinese folk religion, these are sometimes known as "joss sticks".

 

Dhoop or solid stick: With no bamboo core, dhoop incense is easily broken for portion control. This is the most commonly produced form of incense in Japan and Tibet.

Powder: The loose incense powder used for making indirect burning incense is sometimes burned without further processing. Powder incense is typically packed into long trails on top of wood ash using a stencil and burned in special censers or incense clocks.

Paper: Paper infused with incense, folded accordion style, is lit and blown out. Examples include Carta d'Armenia and Papier d'Arménie.

Rope: The incense powder is rolled into paper sheets, which are then rolled into ropes, twisted tightly, then doubled over and twisted again, yielding a two-strand rope. The larger end is the bight, and may be stood vertically, in a shallow dish of sand or pebbles. The smaller (pointed) end is lit. This type of incense is easily transported and stays fresh for extremely long periods. It has been used for centuries in Tibet and Nepal.

 

Moxa tablets, which are disks of powdered mugwort used in Traditional Chinese medicine for moxibustion, are not incenses; the treatment is by heat rather than fragrance.

Incense sticks may be termed joss sticks, especially in parts of East Asia, South Asia and Southeast Asia. Among ethnic Chinese and Chinese-influenced communities these are traditionally burned at temples, before the threshold of a home or business, before an image of a religious divinity or local spirit, or in shrines, large and small, found at the main entrance of every village. Here the earth god is propitiated in the hope of bringing wealth and health to the village. They can also be burned in front of a door or open window as an offering to heaven, or the devas. The word "joss" is derived from the Latin deus (god) via the Portuguese deos through the Javanese dejos, through Chinese pidgin English.

 

PRODUCTION:

 

The raw materials are powdered and then mixed together with a binder to form a paste, which, for direct burning incense, is then cut and dried into pellets. Incense of the Athonite Orthodox Christian tradition is made by powdering frankincense or fir resin, mixing it with essential oils. Floral fragrances are the most common, but citrus such as lemon is not uncommon. The incense mixture is then rolled out into a slab approximately 1 cm thick and left until the slab has firmed. It is then cut into small cubes, coated with clay powder to prevent adhesion, and allowed to fully harden and dry. In Greece this rolled incense resin is called 'Moskolibano', and generally comes in either a pink or green colour denoting the fragrance, with pink being rose and green being jasmine.

 

Certain proportions are necessary for direct-burning incense:

 

Oil content: an excess of oils may prevent incense from smoldering effectively. Resinous materials such as myrrh and frankincense are typically balanced with "dry" materials such as wood, bark and leaf powders.

Oxidizer quantity: Too little oxidizer in gum-bound incense may prevent the incense from igniting, while too much will cause the incense to burn too quickly, without producing fragrant smoke.

Binder: Water-soluble binders such as "makko" ensure that the incense mixture does not crumble when dry, dilute the mixture.

Mixture density: Incense mixtures made with natural binders must not be combined with too much water in mixing, or over-compressed while being formed, which would result in either uneven air distribution or undesirable density in the mixture, causing the incense to burn unevenly, too slowly, or too quickly.

Particulate size: The incense mixture has to be well pulverized with similarly sized particulates. Uneven and large particulates result in uneven burning and inconsistent aroma production when burned.

 

"Dipped" or "hand-dipped" direct-burning incense is created by dipping "incense blanks" made of unscented combustible dust into any suitable kind of essential or fragrance oil. These are often sold in the United States by flea-market and sidewalk vendors who have developed their own styles. This form of incense requires the least skill and equipment to manufacture, since the blanks are pre-formed in China or South East Asia.

 

Incense mixtures can be extruded or pressed into shapes. Small quantities of water are combined with the fragrance and incense base mixture and kneaded into a hard dough. The incense dough is then pressed into shaped forms to create cone and smaller coiled incense, or forced through a hydraulic press for solid stick incense. The formed incense is then trimmed and slowly dried. Incense produced in this fashion has a tendency to warp or become misshapen when improperly dried, and as such must be placed in climate-controlled rooms and rotated several times through the drying process.

 

Traditionally, the bamboo core of cored stick incense is prepared by hand from Phyllostachys heterocycla cv. pubescens since this species produces thick wood and easily burns to ashes in the incense stick. In a process known as "splitting the foot of the incense stick", the bamboo is trimmed to length, soaked, peeled, and split in halves until the thin sticks of bamboo have square cross sections of less than 3mm. This process has been largely replaced by machines in modern incense production.

 

In the case of cored incensed sticks, several methods are employed to coat the sticks cores with incense mixture:

 

Paste rolling: A wet, malleable paste of incense mixture is first rolled into a long, thin coil, using a paddle. Then, a thin stick is put next to the coil and the stick and paste are rolled together until the stick is centered in the mixture and the desired thickness is achieved. The stick is then cut to the desired length and dried.

 

Powder-coating: Powder-coating is used mainly to produce cored incense of either larger coil (up to 1 meter in diameter) or cored stick forms. A bundle of the supporting material (typically thin bamboo or sandalwood slivers) is soaked in water or a thin water/glue mixture for a short time. The thin sticks are evenly separated, then dipped into a tray of incense powder consisting of fragrance materials and occasionally a plant-based binder. The dry incense powder is then tossed and piled over the sticks while they are spread apart. The sticks are then gently rolled and packed to maintain roundness while more incense powder is repeatedly tossed onto the sticks. Three to four layers of powder are coated onto the sticks, forming a 2 mm thick layer of incense material on the stick. The coated incense is then allowed to dry in open air. Additional coatings of incense mixture can be applied after each period of successive drying. Incense sticks produced in this fashion and burned in temples of Chinese folk religion can have a thickness between 2 and 4 millimeters.

Compression: A damp powder is mechanically formed around a cored stick by compression, similar to the way uncored sticks are formed. This form is becoming more common due to the higher labor cost of producing powder-coated or paste-rolled sticks.

 

BURNING INCENSE:

 

Indirect-burning incense burned directly on top of a heat source or on a hot metal plate in a censer or thurible.

 

In Japan a similar censer called a egōro (柄香炉) is used by several Buddhist sects. The egōro is usually made of brass, with a long handle and no chain. Instead of charcoal, makkō powder is poured into a depression made in a bed of ash. The makkō is lit and the incense mixture is burned on top. This method is known as sonae-kō (religious burning).

 

For direct-burning incense, the tip or end of the incense is ignited with a flame or other heat source until the incense begins to turn into ash at the burning end. The flame is then fanned or blown out, leaving the incense to smolder.

 

CULTURAL VARIATIONS:

 

ARABIAN:

 

In most Arab countries, incense is burned in the form of scented chips or blocks called bakhoor (Arabic: بخور‎ [bɑˈxuːɾ, bʊ-]. Incense is used on special occasions like weddings or on Fridays or generally to perfume the house. The bakhoor is usually burned in a mabkhara, a traditional incense burner (censer) similar to the Somali Dabqaad. It is customary in many Arab countries to pass bakhoor among the guests in the majlis ('congregation'). This is done as a gesture of hospitality.

 

CHINESE:

 

For over two thousand years, the Chinese have used incense in religious ceremonies, ancestor veneration, Traditional Chinese medicine, and daily life. Agarwood (chénxiāng) and sandalwood (tánxiāng) are the two most important ingredients in Chinese incense.

 

Along with the introduction of Buddhism in China came calibrated incense sticks and incense clocks. The first known record is by poet Yu Jianwu (487-551): "By burning incense we know the o'clock of the night, With graduated candles we confirm the tally of the watches." The use of these incense timekeeping devices spread from Buddhist monasteries into Chinese secular society.

Incense-stick burning is an everyday practice in traditional Chinese religion. There are many different types of stick used for different purposes or on different festive days. Many of them are long and thin. Sticks are mostly coloured yellow, red, or more rarely, black. Thick sticks are used for special ceremonies, such as funerals. Spiral incense, with exceedingly long burn times, is often hung from temple ceilings. In some states, such as Taiwan,

 

Singapore, or Malaysia, where they celebrate the Ghost Festival, large, pillar-like dragon incense sticks are sometimes used. These generate so much smoke and heat that they are only burned outside.

 

Chinese incense sticks for use in popular religion are generally odorless or only use the slightest trace of jasmine or rose, since it is the smoke, not the scent, which is important in conveying the prayers of the faithful to heaven. They are composed of the dried powdered bark of a non-scented species of cinnamon native to Cambodia, Cinnamomum cambodianum. Inexpensive packs of 300 are often found for sale in Chinese supermarkets. Though they contain no sandalwood, they often include the Chinese character for sandalwood on the label, as a generic term for incense.

 

Highly scented Chinese incense sticks are used by some Buddhists. These are often quite expensive due to the use of large amounts of sandalwood, agarwood, or floral scents used. The sandalwood used in Chinese incenses does not come from India, its native home, but rather from groves planted within Chinese territory. Sites belonging to Tzu Chi, Chung Tai Shan, Dharma Drum Mountain, Xingtian Temple, or City of Ten Thousand Buddhas do not use incense.

 

INDIAN:

 

Incense sticks, also known as agarbathi (or agarbatti) and joss sticks, in which an incense paste is rolled or moulded around a bamboo stick, are the main forms of incense in India. The bamboo method originated in India, and is distinct from the Nepali/Tibetan and Japanese methods of stick making without bamboo cores. Though the method is also used in the west, it is strongly associated with India.

 

The basic ingredients are the bamboo stick, the paste (generally made of charcoal dust and joss/jiggit/gum/tabu powder – an adhesive made from the bark of litsea glutinosa and other trees), and the perfume ingredients - which would be a masala (spice mix) powder of ground ingredients into which the stick would be rolled, or a perfume liquid sometimes consisting of synthetic ingredients into which the stick would be dipped. Perfume is sometimes sprayed on the coated sticks. Stick machines are sometimes used, which coat the stick with paste and perfume, though the bulk of production is done by hand rolling at home. There are about 5,000 incense companies in India that take raw unperfumed sticks hand-rolled by approximately 200,000 women working part-time at home, and then apply their own brand of perfume, and package the sticks for sale. An experienced home-worker can produce 4,000 raw sticks a day. There are about 50 large companies that together account for up to 30% of the market, and around 500 of the companies, including a significant number of the main ones, including Moksh Agarbatti and Cycle Pure, are based in Mysore.

 

JEWISH TEMPLE IN JERUSALEM:

 

KETORET:

 

Ketoret was the incense offered in the Temple in Jerusalem and is stated in the Book of Exodus to be a mixture of stacte, onycha, galbanum and frankincense.

 

TIBETAN:

 

Tibetan incense refers to a common style of incense found in Tibet, Nepal, and Bhutan. These incenses have a characteristic "earthy" scent to them. Ingredients vary from cinnamon, clove, and juniper, to kusum flower, ashvagandha, and sahi jeera.

 

Many Tibetan incenses are thought to have medicinal properties. Their recipes come from ancient Vedic texts that are based on even older Ayurvedic medical texts. The recipes have remained unchanged for centuries.

 

JAPANESE:

 

In Japan incense appreciation folklore includes art, culture, history, and ceremony. It can be compared to and has some of the same qualities as music, art, or literature. Incense burning may occasionally take place within the tea ceremony, just like calligraphy, ikebana, and scroll arrangement. The art of incense appreciation, or koh-do, is generally practiced as a separate art form from the tea ceremony, and usually within a tea room of traditional Zen design.

 

Agarwood (沈香 Jinkō) and sandalwood (白檀 byakudan) are the two most important ingredients in Japanese incense. Agarwood is known as "jinkō" in Japan, which translates as "incense that sinks in water", due to the weight of the resin in the wood. Sandalwood is one of the most calming incense ingredients and lends itself well to meditation. It is also used in the Japanese tea ceremony. The most valued Sandalwood comes from Mysore in the state of Karnataka in India.

 

Another important ingredient in Japanese incense is kyara (伽羅). Kyara is one kind of agarwood (Japanese incense companies divide agarwood into 6 categories depending on the region obtained and properties of the agarwood). Kyara is currently worth more than its weight in gold.

 

Some terms used in Japanese incense culture include:

 

Incense arts: [香道, kodo]

Agarwood: [ 沈香 ] – from heartwood from Aquilaria trees, unique, the incense wood most used in incense ceremony, other names are: lignum aloes or aloeswood, gaharu, jinko, or oud.

Censer/Incense burner: [香爐] – usually small and used for heating incense not burning, or larger and used for burning

Charcoal: [木炭] – only the odorless kind is used.

Incense woods: [ 香木 ] – a naturally fragrant resinous wood.

 

USAGE:

 

PRACTICAL:

 

Incense fragrances can be of such great strength that they obscure other less desirable odours. This utility led to the use of incense in funerary ceremonies because the incense could smother the scent of decay. An example, as well as of religious use, is the giant Botafumeiro thurible that swings from the ceiling of the Cathedral of Santiago de Compostela. It is used in part to mask the scent of the many tired, unwashed pilgrims huddled together in the Cathedral of Santiago de Compostela.

 

A similar utilitarian use of incense can be found in the post-Reformation Church of England. Although the ceremonial use of incense was abandoned until the Oxford Movement, it was common to have incense (typically frankincense) burned before grand occasions, when the church would be crowded. The frankincense was carried about by a member of the vestry before the service in a vessel called a 'perfuming pan'. In iconography of the day, this vessel is shown to be elongated and flat, with a single long handle on one side. The perfuming pan was used instead of the thurible, as the latter would have likely offended the Protestant sensibilities of the 17th and 18th centuries.

 

The regular burning of direct-burning incense has been used for chronological measurement in incense clocks. These devices can range from a simple trail of incense material calibrated to burn in a specific time period, to elaborate and ornate instruments with bells or gongs, designed to involve multiple senses.

 

Incense made from materials such as citronella can repel mosquitoes and other irritating, distracting, or pestilential insects. This use has been deployed in concert with religious uses by Zen Buddhists who claim that the incense that is part of their meditative practice is designed to keep bothersome insects from distracting the practitioner. Currently, more effective pyrethroid-based mosquito repellent incense is widely available in Asia.

 

Papier d'Arménie was originally sold as a disinfectant as well as for the fragrance.

 

Incense is also used often by people who smoke indoors and do not want the smell to linger.

 

AESTHETIC:

 

Many people burn incense to appreciate its smell, without assigning any other specific significance to it, in the same way that the foregoing items can be produced or consumed solely for the contemplation or enjoyment of the aroma. An example is the kōdō (香道), where (frequently costly) raw incense materials such as agarwood are appreciated in a formal setting.

 

RELIGIOUS:

 

Religious use of incense is prevalent in many cultures and may have roots in the practical and aesthetic uses, considering that many of these religions have little else in common. One common motif is incense as a form of sacrificial offering to a deity. Such use was common in Judaic worship and remains in use for example in the Catholic, Orthodox, and Anglican churches, Taoist and Buddhist Chinese jingxiang (敬香 "offer incense), etc.

 

Aphrodisiac Incense has been used as an aphrodisiac in some cultures. Both ancient Greek and ancient Egyptian mythology suggest the usage of incense by goddesses and nymphs. Incense is thought to heighten sexual desires and sexual attraction.

 

Time-keeper Incense clocks are used to time social, medical and religious practices in parts of eastern Asia. They are primarily used in Buddhism as a timer of mediation and prayer. Different types of incense burn at different rates; therefore, different incense are used for different practices. The duration of burning ranges from minutes to months.

 

Healing stone cleanser Incense is claimed to cleanse and restore energy in healing stones. The technique used is called “smudging” and is done by holding a healing stone over the smoke of burning incense for 20 to 30 seconds. Some people believe that this process not only restores energy but eliminates negative energy.

 

HEALTH RISK FROM INCENSE SMOKE:

 

Incense smoke contains various contaminants including gaseous pollutants, such as carbon monoxide (CO), nitrogen oxides (NOx), sulfur oxides (SOx), volatile organic compounds (VOCs), and adsorbed toxic pollutants (polycyclic aromatic hydrocarbons and toxic metals). The solid particles range between ~10 and 500 nm. In a comparison, Indian sandalwood was found to have the highest emission rate, followed by Japanese aloeswood, then Taiwanese aloeswood, while Chinese smokeless sandalwood had the least.

 

Research carried out in Taiwan in 2001 linked the burning of incense sticks to the slow accumulation of potential carcinogens in a poorly ventilated environment by measuring the levels of polycyclic aromatic hydrocarbons (including benzopyrene) within Buddhist temples. The study found gaseous aliphatic aldehydes, which are carcinogenic and mutagenic, in incense smoke.

 

A survey of risk factors for lung cancer, also conducted in Taiwan, noted an inverse association between incense burning and adenocarcinoma of the lung, though the finding was not deemed significant.

 

In contrast, epidemiologists at the Hong Kong Anti-Cancer Society, Aichi Cancer Center in Nagoya, and several other centers found: "No association was found between exposure to incense burning and respiratory symptoms like chronic cough, chronic sputum, chronic bronchitis, runny nose, wheezing, asthma, allergic rhinitis, or pneumonia among the three populations studied: i.e. primary school children, their non-smoking mothers, or a group of older non-smoking female controls. Incense burning did not affect lung cancer risk among non-smokers, but it significantly reduced risk among smokers, even after adjusting for lifetime smoking amount." However, the researchers qualified their findings by noting that incense burning in the studied population was associated with certain low-cancer-risk dietary habits, and concluded that "diet can be a significant confounder of epidemiological studies on air pollution and respiratory health."

 

Although several studies have not shown a link between incense and lung cancer, many other types of cancer have been directly linked to burning incense. A study published in 2008 in the medical journal Cancer found that incense use is associated with a statistically significant higher risk of cancers of the upper respiratory tract, with the exception of nasopharyngeal cancer. Those who used incense heavily also were 80% more likely to develop squamous-cell carcinomas. The link between incense use and increased cancer risk held when the researchers weighed other factors, including cigarette smoking, diet and drinking habits. The research team noted that "This association is consistent with a large number of studies identifying carcinogens in incense smoke, and given the widespread and sometimes involuntary exposure to smoke from burning incense, these findings carry significant public health implications."

 

In 2015, the South China University of Technology found toxicity of incense to Chinese hamsters' ovarian cells to be even higher than cigarettes.

 

Incensole acetate, a component of Frankincense, has been shown to have anxiolytic-like and antidepressive-like effects in mice, mediated by activation of poorly-understood TRPV3 ion channels in the brain.

I haven't done a Technology Saturday for a while. I thought this was a good excuse. This is LADEE, or "Lunar Atmosphere and Dust Environment Explorer", a rocket NASA launched out of Wallops Island, Virginia at 11:27 PM Eastern Friday night. Not bad that I could see it all the way in Massachusetts.

 

As for the photo itself, sadly I almost forgot about it. I remembered at the last minute and had to grab my camera and tripod (and my 2 meter handheld for the hams) and run down to the nearby park. I didn't have the time to get the focus right, but at least I caught the rocket.

 

Olympus E-M5

Panasonic 14-140mm lens (New Version)

785b Tripod - No FIlters

ISO 400 - 14mm - f/3.5 - 60 Sec

Cvent Onsite Technology at the Marketo Summit 2017

This is the Longbridge Technology Park on the Bristol Road South in Longbridge. Near the site of the former Longbridge car plant.

 

On the left is Two Devon Way.

 

The site was developed by St Modwen and Avantage West Midlands (who are also in charge of the rest of the Longbridge site).

 

Was this land once part of the former car factory?

 

Longbridge Lane is to the right of here.

The Future of Information Technology. by Jay Baker at Annapolis, MD.

Hydro's pilot plant in Karmøy has the most climate and energy-efficient aluminium production technology in the world.

 

Photo: Hydro/Marius Motrøen

A solar light & PVC pipe set against a background of the remains of a wagon wheel and wooden slabs.

the new 4d technology using colored features, thumb sucking moment

Hydro's pilot plant in Karmøy has the most climate and energy-efficient aluminium production technology in the world.

 

Photo: Hydro/Marius Motrøen

Hydro's pilot plant in Karmøy has the most climate and energy-efficient aluminium production technology in the world.

 

Photo: Hydro/Marius Motrøen

Hydro's pilot plant in Karmøy has the most climate and energy-efficient aluminium production technology in the world.

 

Photo: Hydro/Marius Motrøen

Communication towers on Steptoe Butte in SE Washington.

Landlines were a necessity in the good old days technology has barely moved at all in the last twenty years. The days are gone when people had to wait at their homes or offices while expecting any phone calls from their nearest and dearest are gone blog.pre-pay-as-you-go.co.uk/2013/01/06/could-mobile-phon...

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