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Photo © Beowulf Sheehan/PEN American Center. All rights reserved. Please contact media@pen.org for usage and rights.
For the Utata Iron Photographer project. Required elements:
1 - a chair
2 - back of a human body
3 - sepia tone
Man, just look at those communists go!
Clearing out the loft today. Came across a binder full of these:
I had them at school, probably in my second year, which would be late 1967 or early 1968.
Beautiful. hand drawn artwork from before the age of Photoshop.
Packed full of explanations of all the basic scientific principles. I learnt an incredible amount from these.
Flushing Meadows-Corona Park, Queens, New Yotk City, New York, United States
The Unisphere, located in Flushing Meadows-Corona Park, was the centerpiece and visual logo of the 1964-65 New York World's Fair, symbolizing the theme of "Peace Through Understanding." It was designed by the noted landscape architect Gilmore D. Clarke, who had devised the geometric, Beaux Arts-inspired layout of Flushing Meadows Park which formed the basis of the plan for this World's Fair as well as the earlier 1939-40 World's Fair. The Unisphere, which was commissioned to celebrate the dawn of the space age, was constructed and donated to the park by the United States Steel Corporation after successfully meeting several engineering challenges.
Robert Moses had hired Gilmore D. Clarke to lay out the plan of the 1939-40 World's Fair -- a series of major and minor boulevards and paths radiating out from a central point containing the Trylon and Perisphere, with major axes terminating at focal points that contained major pavilions, fountains, and sculpture. In 1961, Clarke returned to modify the 1939 plan for the 196465 fair, placing the Unisphere at the same prominent position as the earlier Trylon and Perisphere. The Unisphere remains at this location.
The 140-foot-high stainless steel Unisphere towers over a circular reflecting pool containing fountains that spray water twenty feet in the air. The sphere is covered with representations of the continents, showing the major mountain ranges in relief, and is encircled by three giant rings denoting the first manmade satellites, which had been launched in the late 1950s. The capital cities of the world are marked by lenses which, during the fair, were backed by flashing lights.
In late 1993 and early 1994, the Parks Department restored the Unisphere, including the reflecting pool and its fountains, and new floodlighting was installed. The sphere itself was cleaned and stabilized, and the surrounding landscape was rehabilitated as part of a 3.6 million dollar restoration project at the park. The Unisphere remains one of the most prominent structural and landscape features of Flushing Meadows-Corona Park, as well as a striking visual reminder of the second of New York City's great World's Fairs.
The Flushing Meadows-Corona Park
The 1,255 acre Flushing Meadows - Corona Park was originally a vast swamp with a freshwater creek running through it. The first Europeans to occupy the area in the seventeenth century, attracted by its fertile ground and rich salt marshes, used the navigable Flushing Creek to transport their goods to the markets of New York.
Despite the development of the surrounding area as a suburb of New York City, the Flushing Meadows themselves remained unspoiled at the turn of the twentieth century. In 1907, developer Michael Degnon, who was building a huge industrial park in Long Island City, devised an ambitious plan to construct another large industrial park in the Flushing Meadows and to create a great port along Flushing Bay and Flushing Creek.
He began purchasing the land and contracted with the New York City Department of Sanitation and the Brooklyn Rapid Transit Company for the removal of ashes, street sweepings, and excavated material to the site, which soon became known as the Corona Dump. In 1913, the State of New York authorized the dredging of Flushing Creek and Flushing Bay; soil from the dredging was also used as fill for the site.
By 1916, 600 acres had been filled in. However, Degnon's plans for the Flushing Meadows were halted with the United States' entry into World War I. After the war, the impetus for the industrial development of Flushing Meadows had been lost, but the area continued to be used as a dump.
Fiorello H. LaGuardia became the ninety-ninth mayor of the City of New York in January 1934 amid the Great Depression. He chose the popular New York State Park Commissioner, Robert Moses, as his new city Park Commissioner. Moses had a reputation as a progressive and as the builder of great parks and parkways, such as Jones Beach and the Northern State Parkway on Long Island.
Moses accepted the position of Park Commissioner on the condition that the existing five independent Park Departments, one for each borough, be consolidated into one department with himself as the sole Commissioner. A combination of several City and State appointments gave Moses control over all existing and proposed parks and parkways in the New York metropolitan region, with the exception of areas outside of New York State.
Among Moses's many accomplishments in New York City during the 1930s were enormous new waterfront recreational facilities at Orchard Beach in the Bronx and Rockaway Park in Queens, as well as several new swimming pool complexes scattered throughout the city and the construction or renovation of hundreds of parks and playgrounds.
Since the 1920s, when he was a member of the Metropolitan Park Conference, Moses had envisioned the Flushing Meadows as the site of a grand park to be part of a vast new greenbelt stretching across Queens into Nassau County. While his appointment as the City's Park Commissioner brought him closer to fulfilling this dream, the cost of land acquisition and improvements was beyond the means of the Depression-plagued City. When George McAneny, the chairman of the board of the Title Guarantee and Trust Bank and the president of the City Club, presented the concept of an international fair, Moses immediately recommended the "Corona Dump" as an appropriate site. Moses saw a World's Fair as the opportunity to fund the creation of the new park and greenbelt.
The City would acquire the land and lease it to the Fair Corporation, which would then raise the funds needed to convert the dump and the surrounding swamp into an appropriate site for the fair through the sale of bonds. At the conclusion of the fair, the City would take back the improved site, which would serve as the foundation for the new park. In addition, a certain percentage of the fair's profits would be dedicated to the building of the park.
By the end of 1935, the Corporation was formed and the Flushing site was officially chosen. The City of New York purchased the land and installed the infrastructure needed to support both the temporary fair and the future park. The irregular terrain was leveled and graded, thousands of trees were planted, and utility lines were installed. A complicated new drainage system for the Flushing area placed a branch of the Flushing Creek into an enormous conduit and formed two lakes in the park.
Gilmore D. Clarke, one of the foremost landscape architects of the day, created the landscape design of the 1939-40 New York World's Fair.
Gilmore D. Clarke, Landscape Architects
Gilmore D. Clarke was born in New York City and studied landscape architecture and civil engineering at Cornell University, from which he received a Bachelor of Science degree in 1913. He served as an engineer in the army during World War I. During the 1920s, he served on several local, state, and federal commissions as landscape architect, including the Architectural Advisory Board for the United States Capitol, the New York State Council of Parks , and the Westchester County Park Commission, among many others.
For his work in Westchester County, which included the Rye Beach Playland, the Saw Mill River Parkway, and the Bronx River Parkway, Clarke was awarded the Gold Medal of Honor in Landscape Architecture from the Architectural League of New York in 1931. By the time of the Great Depression, Clarke was the most popular landscape architect in public works in America.
His career advanced during the 1930s. Robert Moses hired him in 1934 as the Consulting Landscape Architect to the New York City Park Department, and in 1935 he became a member of the Board of Design for the 1939 New York World's Fair. He was also a member of the National Commission on Fine Arts and the New York State Planning Council. His projects for the New York City Park Department included the Central Park Zoo, the Henry Hudson Parkway, Astoria Park in Queens, and Orchard Beach in the Bronx, as well as renovations to Bryant and City Hall Parks. He taught landscape
architecture at Cornell University from 1935 to 1950, serving as the Dean of Architecture from 1939 until his retirement in 1950, and wrote several articles for trade periodicals.
In 1935, Clarke joined Michael Rapuano, an engineer and landscape architect, establishing the New York civil engineering and landscape architectural firm Clarke & Rapuano, Inc. Clarke was president of the firm from 1962 to 1972, when he retired. Later in his career, Clarke worked as a consultant on the construction of the United Nations Headquarters in New York and became a trustee for the American Museum of Natural History. Besides Clarke's own modifications of the fairgrounds for the 1964-65 World's Fair and his design of the Unisphere, the firm Clarke & Rapuano designed many of the fair's statues, pools, and fountains, and one exhibit, the Garden of Meditation.
The 1939-40 and 1964-65 World's Fairs
Clarke's geometric Beaux-Arts plan for the fair's northern section is composed of several major and minor boulevards and paths radiating out from a central point with major axes terminating at focal points containing major pavilions, fountains, and sculpture. This central point was the location of the Trylon and Perisphere and is now the location of the Unisphere. This formal plan was contrasted with the more naturalistic southern section, which has two artificial lakes and randomly arranged paths. The northern section was intentionally made very level to permit the fair's temporary architecture to dominate the landscape.
The theme of the fair was "Building the World of Tomorrow." The fair's president, Grover A. Whalen,was able to attract an impressive roster of foreign exhibitors to the fair in a period of financial stress and gathering war clouds, as well as persuading the Bureau International des Expositions in Paris to bestow its official endorsement upon the New York fair, giving it additional prestige.
Although the fair received generally good reviews, attendance fell short of expectations, and the New York World's Fair Corporation was forced to declare bankruptcy at the end of its second and final season in 1940. The fair grossed only 48 million dollars for the Corporation, while its expenses exceeded 67 million dollars. Although the funds Moses was counting upon to create his new park did not materialize, the partially landscaped site left behind by the fair was adequate to support a scaled-down Flushing Meadows Park, which opened in 1941
In 1959, planning began on the second of New York City's great fairs, which would be held for two years beginning in 1964, the twenty-fifth anniversary of the opening of the 1939 fair, and which was to occupy the same Flushing Meadows site as the earlier fair.
By this time, Moses' reputation was on the wane, but he was again appointed president of the Fair Corporation. Once again, his motive was to extract enough profit from the fair to finally construct the park that he hoped would be the crowning glory of his long career. Gilmore D. Clark was retained to adapt the 1939 landscape plan to the new fair. The second fair was to be mainly a forum for the exhibition of developing technology, particularly as it related to space exploration, computers, and nuclear energy.
In 1961, the New York World's Fair 1964-1965 Corporation announced that the theme of the fair, "Peace through understanding in a shrinking globe and in a expanding universe," would be symbolized by a large, stainless steel armillary sphere, to be called the Unisphere.13 This would be built on the site of the Trylon and Perisphere from the 1939-40 Fair.
The Design and Construction of the Unisphere and its Site
Designed by Gilmore D. Clarke, the Unisphere was engineered, fabricated, and donated to the fair by the United States Steel Corporation . Its components were manufactured by the company's American Bridge Division at Ambridge and Harrisburg, Pa., and assembled at the World's Fair site. The original published rendering of the Unisphere closely resembles the structure as eventually built, except for a different arrangement of fountains.
The pool and the fountains were designed by Gilmore D. Clarke's landscape architecture firm, Clarke & Rapuano, with J. Samuel Hamel of the engineering firm Hamel & Langer serving as a consultant. Both firms worked together to produce many of the fair's other pools and fountains.
Clarke's design for the Unisphere -- a steel cage composed mainly of curving structural members, which represent the lines of latitude and longitude supporting representations of the continents and three suspended orbital rings -- presented several engineering challenges. As an open structure, virtually every part is visible and exposed to the moisture, salt air, and high winds of the local climate. The USS engineers chose stainless steel as the Unisphere's major element because of its weatherproof qualities and resistance to corrosion. They studied different surface textures for the land masses to determine which would look best at various viewing distances.
After testing various materials including stainless steel mesh, non-directional textured stainless steel sheeting was chosen for the land masses. To show elevation, the sheeting was built up in contours.
Despite the enormous loads that the Unisphere's shape imposes on its curving structural members, these could not be too thick, cross-braced, or irregularly spaced without compromising Clarke's proposal to feature accurate representations of the earth's meridians and parallels. In addition, the concave inner surfaces of the land masses trap the wind and create an enormous amount of drag on the structure.
The distribution of its weight and the effects of the wind had to be considered and a stress transfer pattern created to insure that the Unisphere would retain strength and stability at all times. By varying the sectional dimensions of the meridians and parallels, the engineers were able to achieve structural stability without compromising the design. The three polished steel orbit rings are anchored to the superstructure by aircraft cable. Altogether, the Unisphere contains a mile and a half of meridians, parallels, and orbit rings. The 700,000 pound globe is supported by an inverted tripod base made out of a low-alloy, high strength steel and weighing 200,000 pounds, anchored to the foundation by steel bolts having a minimum yield strength of 100,000 pounds per square inch. The poured concrete foundation incorporates the Perisphere's piling ring, which remained intact underground from the 1939-40 World's Fair. It was reinforced with 600 additional 100-foot piles.
The Unisphere as the Logo of the 1964-1965 New York World's Fair
As the fair's centerpiece, the Unisphere played an important role in the marketing of the fair. Images of the Unisphere were featured prominently in most of the Corporation's advertising for the fair, as well as on official World's Fair souvenirs, such as mugs, pencil sharpeners, scale models, and bumper stickers. World's Fair telegrams, featuring an image of the Unisphere, could be sent anywhere in the United States for a discount price of one dollar, provided they included one of eleven pre-written texts extolling the wonders of the fair. Many companies with exhibits, concessions, or booths at the fair, incorporated the Unisphere into their printed and filmed advertisements.
The Unisphere's image and the word "Unisphere" were both registered as official trademarks of the Fair Corporation, and the legal trademark symbol had to appear in the immediate vicinity of any pictorial representation of the structure, and immediately following any use of the word "Unisphere." In addition, the Corporation copyrighted a simplified representation of the Unisphere on an orange and blue background as its official logo.
Description
The 140-foot-high, 700,000-pound stainless steel globe, which is 120 feet in diameter, sits upon a twenty-foot high base and contains more than 500 major structural pieces. It is covered with representations of the continents, showing the major mountain ranges in relief, and is encircled by three giant rings denoting the first manmade satellites, which had been launched in the late 1950s. The globe tilts from the vertical at an angle of 231/2 degrees, the normal tilt of the earth.
The circles which make up the armillary sphere1 represent the lines of latitude and longitude. The capital cities of the world are marked by lenses which, during the fair, were backed by flashing lights.
The Unisphere sits in a circular reflecting pool 310 feet in diameter and is encircled by a double ring of fountains. The floor of the pool is of poured concrete, and incorporates drains, piping, and the fountain casings. Altogether there are ninety-six fountainheads, arranged in pairs. They spray vertically to a height of twenty feet.
The pool's bulkhead is made of cast concrete sheathed in rose-colored granite. An aluminum plaque faces each of the park's four major walkways, which converge at the Unisphere. These plaques, which were donated by U.S. Steel, contain descriptive information about the structure. The Unisphere is floodlit at night from towers located just beyond the edges of the walkway that encircles the reflecting pool.
The Unisphere after the 1964-65 World's Fair
Attendance in the two seasons of the fair was well below expectations. At its conclusion, the fair had 11.6 million dollars on hand, and owed 23 million dollars. Most of the 11.6 million dollars was used to demolish the pavilions of bankrupt exhibitors, clean up the fair site, and help restore Flushing Meadows Park in an adaptation of Clarke's Beaux-Arts design. For the last time, Moses' dream of a creating a great new city park had eluded him.
When the restored Flushing Meadows-Corona Park reopened to the public in 1967, the Unisphere remained as a permanent element of the park.20 Its visual prominence, especially to motorists traveling along the major expressways that ring the fairgrounds, makes it a major Queens landmark. However, the lack of maintenance over time began to take its toll on the structure and its site. By the 1970s, the fountains were shut down; the pool floor and bulkhead were graffiti-scarred; and the Unisphere itself was covered with grime.
In 1989, the respective fiftieth and twenty-fifth anniversaries of the openings of the two New York World's Fairs, the Parks Department began a 3.6 million dollar rehabilitation project in Flushing Meadows-Corona Park. Among the projects were the restoration of the Unisphere and its pool and fountains. Structural repairs to the sphere included replacement of the inner and outer cables and all loose rivets, and tightening and/or replacing all nuts and bolts. The globe was cleaned with a special solution and water under high pressure.
The original 96 spray jets in the fountain at the base of the Unisphere were restored and two new 200 horsepower pumps and a timer were installed. The work, which was funded by the office of the Queens Borough President, was finished and the fountains were restarted on May 31, 1994. The Unisphere remains one of the most prominent structural and landscape features of Flushing Meadows-Corona Park, as well as a striking visual reminder of the second of New York City's great World's Fairs.
- From the 1995 NYCLPC Landmark Designation Report
52.366: Genghis, the red panda at the Milwaukee County Zoo, sticks his tongue out at me. It was a beautiful day, low 40s, so he was out and about in his exhibit area. Shortly after grabbing a quick bit to eat, the ol' man went back to sleep in his outside box.
Press {L} for best view.
(c) 2012, all rights reserved. Please do not copy and/or redistribute this photo without prior permission, thanks for your understanding!
A Participian at the Session: Understanding Neural and Digital Networks with Princeton University at the Annual Meeting 2018 of the World Economic Forum in Davos, January 25, 2018. Copyright by World Economic Forum / Walter Duerst
Oncology: HIV/AIDS (Understanding Disease Series)-A provirus replicates with the host’s cells to produce a large number of progenies (alike viruses). These viruses come out of the cells by the process of budding and the HIV/AIDS infection spread further. This is a snippet from the video. To know about the complete process oc HIV/AIDS infection including complications related to it, link to an appropriate page.
www.focusappsstore.com/understanding-diseases/infectious-...
Watch this video on Vimeo. Video created by Focus Apps Store.
The McGee group is going to the ends of the earth to understand how precipitation patterns respond to climate change. Recognizing that past changes provide unique opportunities to test our understanding of the climate system, the group is building high-resolution records of past precipitation changes in sensitive regions around the world using natural precipitation archives such as lake deposits and stalagmites. In the past two years this work has taken the group to shorelines preserving records of large ancient lakes in the deserts of the western U.S. and subtropical South America, to caves in the Yucatan peninsula and deep inside islands in Vietnam's Ha Long Bay, and onto a drill rig sampling deeply buried lake sediments in the high tropical Andes.
Images courtesy: Nguyen Hieu & Do Trung Hieu
Based on the information collected during my ethnographic work focusing my attention on the everyday understandings of dengue fever, and paying particular attention to the different ways in which the subjects that have had dengue described the experience of being unwell, I decided to re-work (collaboratively) all the information gathered so far, to create elements that reflect the ideas of how dengue fever is understood in various different contexts.
Promoters of public health have not taken into consideration the points of view of the patients or those who have had the disease. They design campaigns based on an entomological and clinical point of view, following a standard template where you see health staff –dressed in laboratory coats– talking about environmental hygiene and the purposes of sanitation. In addition, humour doesn’t play a role in the design of the campaigns.
In order to collaboratively create an intervention that reproduces the way Luis Fernando and Sara experienced the disease (you can find information about the ways in which they described the experience of being unwell by accessing my PhD blog: www.anthropologyartscience.blogspot.com), we asked Alejandro Uribe, Sarita Álvarez and Juan Camilo Ortega for their help. They are part of Bimana, a collective of artist that creates a variety of large-scale interventions and performances combining a solar balloon, plastic bags, kites, makeup, prosthetics design, and special effects. The idea was to create a fictional character, or a comic anti-hero, that would appear in the public space of the city, creating an active dialogue with different peoples.
Acknowledgments:
I am extremely grateful with the subjects of this ethnography Sara and Luis Fernando. Special thanks to the ‘Bimana Producciones’ team (Alejandro Uribe, Sarita Álvarez and Juan Camilo Ortega), the kite-flyer Andrés Ramírez and the actor Emilio Arango. I would also like to thank the rest of the people that helped during the public experiment: Pablo López, Lucía Tobón, Sara Ibarra, Susana Valencia, Hernán Marín, Mario Valencia, and Gustavo Ramírez.
To see more about this project, please refer to these websites:
This is one of my favourite views in the whole of NZ - the expansiveness I felt from this view point on my first trip to NZ in 2002 is probably the driving force behind my decision to pack up in Melbourne, Australia and move to this part of the world. Home is now in Queenstown which is about 50km as the crow flies from here.
Committing to Collaboration: David Turnbull, chairman of RSA-US Student Design Awards, looks on as Shashi Caan and David Turner, Presidents of International Federation of Interior Architects/Designers (IFI) and RSA United States (RSA-US), sign a memorandum of understanding. The two organizations will work together to further design education and cultural development for the benefit of their respective members and society as a whole.
RSA-US Student Design Awards aka #SDAUS, is an award program to inspire collaborative and multi-disciplinary design-led social by connecting design students and faculty with industry needs.
Why do we need SDA-US? Why now?
“It is a pivotal moment in the field of socially responsible design. More than ever, design professionals are involved in projects that have a social impact. Student enrolment in educational programs or social innovation is growing exponentially.” Bill Moggridge, RSA Royal Designer for Industry, co-founder of IDEO and Director, Cooper-Hewitt, National Design Museum 2010-12.
How can I participate?
The awards are open to design students at US accredited schools. Faculty should oversee the students’ work, ideally by building the brief into the curriculum, by setting up workshops, and/or by individual mentoring. We'll announce the 2014 briefs and key dates in May 2013- so stay tuned:
Find us on Facebook
Follow us on Twitter
See FAQ on the website: sda.rsa-us.org/program-goals-and-timeline/faq-for-schools/ .
I'm inspired - and I'd like to talk about designing or sponsoring a brief for 2014
A practical illustration of the above in action.
Experimenting, testing and understanding. Over 2,000 pupils came to the Ars Electronica Center to present their self-developed experiments to a public audience and to take a look at other experimental set-ups.
Credit: Ars Electronica / Christopher Sonnleitner
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★What IS THE INTERNATIONAL FIBER COLLABORATIVE?
As the leading voice for collaborative public art projects around the world, the International Fiber Collaborative is dedicated to promoting understanding and appreciation of contemporary art & craft through educational experiences. We are committed to developing vital education programs that elevate, expand, modernize and enhance the image of collaboration and education today.
★WHAT IS THE DREAM ROCKET PROJECT?
The Dream Rocket Team is collecting nearly 8,000 artworks from participants around the globe. The artwork will be assembled together to create a massive cover in which will wrap a 37 story Saturn V Moon Rocket at the U.S. Space & Rocket Center in Huntsville, Alabama. We will also be displaying submitted artwork in dozens of national venues prior to the wrapping of the Saturn V. Additionally, we are posting images of submitted artwork & their stories on our Website, Flickr, and Facebook.The Dream Rocket project uses the Saturn V Moon Rocket as a symbolism of universal values of the human spirit. Optimism, hope,
caring for our natural resources, scientific exploration, and harnessing technological advancements for a better quality of life while safeguarding our communities, are all common desires across national and international boundaries. Participants are able to express and learn about these values through this creative collaboration. With the completion of each artwork, participants are asked to write an essay explaining their artwork, and the dream theme in which they chose.
★How can I Participate & Have my Artwork Displayed?
The Dream Rocket project would like to challenge you to ‘Dare to Dream’. To dream about your future and the future of our world through dream themes such as health, community, conservation, science, technology, space, peace, and so on. We would like you to use your selected Dream Theme to express, explore, and create your vision on your section of the wrap. We hope that you are able to express and learn through this creative collaboration. With the completion of each artwork, you are asked to write a brief essay explaining your artwork, and the dream theme in which you chose.
“The Saturn V is the ideal icon to represent a big dream. This rocket was designed and built as a collaboration of nearly half-a-million people and allowed our human species to venture beyond our world and stand on ANOTHER - SURELY one of the biggest dreams of all time. ENABLING THE DREAMS of young people to touch this mighty rocket sends a powerful message in conjunction with creating an educational curriculum to engage students to embrace the power of learning through many important subjects”
-Neil deGrasse Tyson, Director of the Hayden Planetarium, New York
★I VALUE THE ARTS!!!!
The International Fiber Collaborative is able to share the power of a collaboration and art, thanks to the support of generous individual donors. We welcome any amount of donations and remember the International Fiber Collaborative is exempt under Section 501(c)(3) of the Internal Revenue Code, making this gift tax deductible.
Donate Today at: www.thedreamrocket.com/support-the-dream-rocket
See our Online Flickr Photo Album at: www.flickr.com/photos/thedreamrocket/
★★★SIGN UP AT WWW.THEDREAMROCKET.COM
To increase the general understanding of the local authorities (Chefs de groupe / Chefs de quartier) regarding the ICC activities and the judicial proceedings in the Bemba case
Douglas Lamont, senior official performing duties of secretary of the Army for Civil Works, gets a briefing on the deteriorating Chickamauga Lock and its replacement lock project Feb. 28, 2017 in Chattanooga, Tenn., from U.S. Army Corps of Engineers Nashville District and Tennessee Valley Authority officials. Lamont visited to gain a better understanding of aging infrastructure. The Tennessee Valley Authority owns the dam while the Nashville District operates and maintains the lock. (USACE photo by Leon Roberts)
The Richard B. Russell Project hosted a fishing trip and deer hunt for five children ages 6 to 14 (and their parents) of the Outdoor Dream Foundation on Oct. 21 -22, 2011. The children went on a guided fishing trip on Friday afternoon near the McCalla state natural area. The group caught about 50 fish, including striped bass, largemouth bass, yellow and white perch, crappy and catfish. The group went on a deer hunt Saturday morning and evening. The children spotted many deer, and one child harvested a five-point buck.
The Anderson, S.C.-based Outdoor Dream Foundation provides hunting, fishing, and other outdoor excursions to terminally ill and disabled children. These events give the children an opportunity to forget about their illness for a moment and bring them fond memories to look back on during harder times. The Savannah District signed a Memorandum of Understanding with the Foundation in August, formalizing a mutually beneficial partnership between the two organizations.
Using a simulator made by Haagen, we can simulate the affects of smoke movement within a building. This is one of many tools used to train firefighters and fire officers in the use of positive pressure ventilation.
Understanding the idea of shallow DOF when using macro lens but I still quite surprise when I was unable to focus both of these heads at f/8 since they look pretty much in the same focal length (to me).
So I decide to take this opportunity to test the technique which I've read but never tried before: focus stacking.
And here it's.
Quite happy with the result :-)
Douglas Lamont, senior official performing duties of secretary of the Army for Civil Works, tours the deteriorating Chickamauga Lock Feb. 28, 2017 in Chattanooga, Tenn., with U.S. Army Corps of Engineers Nashville District and Tennessee Valley Authority officials to gain a better understanding of aging infrastructure. The Tennessee Valley Authority owns the dam while the Nashville District operates and maintains the lock. (USACE photo by Leon Roberts)
Brazilian artist Vik Muniz radically transforms understanding of image-making by using shifts in scale, photographic manipulation and unexpected materials — from dust and chocolate to grains of sand and industrial garbage — to explore the nature of visual cognition.
While at MIT, Vik Muniz pursued his interests in image production and visual literacy, working with researchers in biology, optics and engineering.
In collaboration with Marcelo Coelho, a PhD candidate in the Fluid Interfaces Group, and Rehmi Post, a research scientist at the Center for Bits and Atoms, Muniz developed a process to machine microscopic images onto millimeter-wide grains of sand, which later become large, high-resolution prints.
For more information: artsm.it/18aNOOt
All Images ©L. Barry Hetherington
lbarryhetherington.com/
Please ask before use
Minister of Trade and Industry Rob Davies together with the Islamic Republic of Mauritania Minister of Commerce Industry and Tourism Naha Mint Hamdi Ould Mouknass sign a Memorandum of Understanding (MOU) on Economic Co-operation at Tshedimosetso House in Pretoria. (Photo: GCIS)
This studio aimed to develop and further a students' understanding of architecture by studying the intersection of at, design and materials science. Three primary exercises helped develop student’s techniques of drawing, making and organizing structures. This course was specifically created to play off students' non-architectural education by introducing a domain of investigation whereby students learned to design through the lens of cross-disciplinary experimentation.
Throughout the semester students investigated generative art, design and materials science through the lens of “pattern formation” and attempted to extract principles, learned techniques and developed strategies for design. By studying the formation of materials students explored both the fundamental science as well as new advances in research to understand the building blocks of matter, organizational patterns, processes of material creation and micro-to-macro material behavior. To draw comparison, students also researched both contemporary and historic works of generative art and design to understand the rules, logic and components of the work and how high-level patterns emerge from local interaction. These seemingly opposite fields converged and become precedents for three exercises: 1. Generative drawings, 2. New material formations and 3. Living objects / growing structures.
Learn more at arts.mit.edu
All photos ©L. Barry Hetherington
lbarryhetherington.com/
Please ask before use
Marco Sosa, the Danteum. 3/4 Study model for a conceptual model of the danteum. Out of purgatory comes heaven, a very light, open space [he needs to fix that grey plane in the 'clean' model]. Heaven has a golden section relation to purgatory.
Studying BTEC Fine Art has helped me to explore myself as an artist. I have been able to use many different processes to come to appropriate conclusions within my ideas. I find inspiration from people, science and history. I enjoy visiting galleries to see art in ‘in the flesh’ as I feel it gives me a greater understanding of the techniques used, particularly the painting masters such as Rembrandt and Vermeer, use of light etc. On the whole I favour contemporary art, one of my favourite pieces is ‘Counting Down’ by T.V. Santosh. One thing that has recently inspired me within my art is poetry and literature. I particularly found this when I was studying death and came across the Sylvia Plath poem ‘Morning Song’. To me my art is about asking a question and trying to come to a conclusion within a final piece with all sides of the debate explored within my sketchbooks e.g. my sculpture is about exploring death as something sacred, to be respected much like the idea of a god. For this I looked in to accents, cultures and religions to find a key link within them all which was the idea of a afterlife/underworld, my sculpture represents preparation for the afterlife and the processes of death itself. My aim is to create discussion and for people to come away with new ideas and their own questions to explore.
Wien am 14. Januar 2019, Außenministerin karin_kneissl und WKÖ Präsident Harald Mahrer unterzeichnen heute ein Memorandum of Understanding mit den Wirtschaftskammern der Länder Südosteuropas.Ziel ist die Stärkung regionaler Kooperation auf wirtschaftlicher Ebene, insb. im Bereich duale Berufsbildung.
Foto: Mahmoud
Hong Kong Culture | Modern Hong Kong History started in 1841.
Visit Hong Kong - one of the World‛s GREATEST Cities!
Hong Kong is blessed with some of the most amazing panoramic city views in the World today and even better 75% of the land area consists of country parks and wetlands plus we have 575+ named hills and peaks offering some great hiking trails and lots of very fine beaches and remote islands - in a nutshell, Hong Kong is full of surprises!
Victoria Peak, The Peak Tram, Victoria Harbour, The Big Buddha | Po Lin Monastery, Tai O Fishing Village, The iconic Star Ferry, The Ocean Terminal Deck, The iconic Street Tram on HK Island, TST Promenade, Cheung Chau Island, Peng Chau Island, Temple Street Night Market, The Ladies Market, Chi Lin Nunnery | Nan Lian Garden, Statue Square, The Sik Sik Yuen Wong Tai Sin Temple, Tsz Shan Monastery, Tai Kwun Centre, Hollywood Road, The Mid Levels Escalator, Aberdeen, Stanley, The West Kowloon Cultural Centre, Food Markets... the list goes on and on of cool and unusual places you should “visit or do” when you come to Hong Kong.
Book a Private Tour of Hong Kong to maximise your time here and gain an in depth understanding of this amazing city, in addition we have a great food culture and night life scene with some 15,000 - 20,000 Restaurants and Bars officially and unofficially and any and all visitors should take a private or group food tour in Hong Kong!
Hong Kong has one of the very best public transport systems in the world (MTR Subway and Buses + 18,163 Taxi‛s) they are cheap, reliable and easy to use.
Hong Kong - Some Facts - Population 7.5 Million people | 92% Ethnic Chinese | English is an Official Language along with Cantonese and Mandarin | 1,114 sq km or 430sq miles of diversity | 263 Islands | People | Street Scenes | Traffic Scenes | Nature Scenes | Animals | Buildings | Shopping | Gardens | The Countryside | Islands and the Ocean + Daily Life and anything interesting, all Districts, Hong Kong
☛.... and if you want to read about my personal views on Hong Kong, then go to my blog, link is shown below, I have lived in Hong Kong for over 50 years and completed 2,324 Private Tours of Hong Kong between 8th April 2011 and February 11th 2020
✚ www.j3consultantshongkong.com/j3c-blog
☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!
20 May 2025, Signature of an updated memorandum of understanding between the CoR and the OECD
Poland - Warsaw - May 2025
© Konrad Kalbarczyk
Yoshiki TAKEUCHI, OECD Deputy Secretary-General
Kata TÜTTŐ, CoR President
RESERVE BIOL
In this 32-lecture video course, Dr. Anthony Goodman puts a solid understanding of human anatomy and physiology easily. You'll learn to see the structure and functioning of our bodies as an awesome, integrated unity, a perspective that reveals the logic and symmetry of the human organism with compelling clarity.
Visit the Frank Lloyd Wright Preservation Trust website @ gowright.org
The understanding, creation and enhancement of SPACE is in the fore front for me as a Landscape Designer. Being from the Midwest the Prairie Style has always influenced my design sensibilities. For all of the times I traveled in, through and around Chicago, including spending time in Oak Park, I don't have a good reason why I never visited Wright's Robie House before. Except that it wasn't meant to be... I wasn't ready to receive the understanding it had to offer (there, know you know I'm a real designer). That changed late October 2011 on a most glorious fall day. I was ready. I received. Enjoy this large photo set (it's only a fraction of images from the day) and gain a little insight into Wright's work. Warm wishes & best regards, Glenn!
For more information about Landscape Designer Glenn! Switzer visit any of the following: Thank You!
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~~ Patios - Pergolas - Outdoor Living ~~
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The Art of Landscape Design - Providing Exceptional Quality & Uniquely Creative Design/Build Landscapes. From Contemporary to Classic… Transforming functional spaces to evoke the feeling of living in fine art.
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The incredible quantity of psychological and physical stress put in upon a lady’s mind and also body while pregnant is absolutely not rather a preferred moment yet it deserves sustaining. The gift so cute as well as usually mystical in the experience of neo-mothers do not just gone along with labor, which is just an […]
www.homeremediesauthority.com/understanding-sciatica-whil...
Making real progress on understanding this ultrasound film and the required exposure and development. Sadly, still making rookie mistakes, like forgetting to turn the dark slides properly before loading the film holder, so being unable to tell which side was exposed after the first shot. So naturally I had to guess about which side had been shot already and got it wrong. Ugh. Getting there, though, the negative had good density and there's plenty of evidence of detail in the shadows.
For others who are trying Kodak B/RA film, I'm having good luck rating it at ISO 50, and developing in D76 1+1 for 10 minutes in a rotary drum (in my case, an old Chromega 8x10 print drum on a Uniroller base.)
On 7 November 2019, Imbuto Foundation signed an MoU with DOT Rwanda, to collaborate in the implementation of youth & women programs focusing on Empowerment, Employment, Mentorship & Entrepreneurship Promotion.
First expansion that I actually like. I'm finally understanding this. My hair looks like a wig.
Press L.
IFPRI Director General Shenggen Fan signs a memorandum of understanding between IFPRI and Central Asia Regional Economic Cooperation (CAREC) as Senior Research Fellow Kevin Chen stands witness.
5 June, 2016, Beijing, China
Photo credit: Katrin Park / International Food Policy Research Institute