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School of Art and Art History at University of Iowa in Iowa City, Iowa. Designed by New York City architect Steven Holl.
Taken over the China Sea (or around the area of Subic/Olongapo) in Maynard Halili's Beechcraft Baron. Shot through a dirty aircraft window.
© 2002 Bong Manayon | FB: Bong Manayon Photography
Pentax MX + SMCP A 35-70/4 + Fuji Reala 400
05.04.08 22.11.29
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This photo has made it to explore! Rank #146 on 2008-06-24 .
from the visual journal that I've been working on, started on '09 and now continued. Most of the images in the 2022 section come from a French children's book on zoology, "Pour les tout Petits,Lectures sur les Animaux."
Many years ago, while on a beach walk, I came across a piece of driftwood which instantly reminded me of a giraffe's neck and head! I couldn't wait to get home and try my hand with ways to capture the image in my mind! This isn't my typical *medium* but the acrylics worked well to come close to my visual interpretation.
Having just read my dear flickr friend's feelings about a tragic incident involving this loving, gentle creature, I wanted to honor his sensitivity by sharing this image.
Bless you, Dear James, from the bottom of my heart. You are a treasured friend to so many on flickr.
A series of assemblages and mixed media paintings by Chiew Sien Kuan (Singapore) displayed along the Esplanade Tunnel during A Little Love Story in Singapore.
any unusual visual expereiences recently.
A hallucination, in the broadest sense, is a perception in the absence of a stimulus. In a stricter sense, hallucinations are defined as perceptions in a conscious and awake state in the absence of external stimuli which have qualities of real perception, in that they are vivid, substantial, and located in external objective space. The latter definition distinguishes hallucinations from the related phenomena of dreaming, which does not involve wakefulness; illusion, which involves distorted or misinterpreted real perception; imagery, which does not mimic real perception and is under voluntary control; and pseudohallucination, which does not mimic real perception, but is not under voluntary control. Hallucinations also differ from "delusional perceptions", in which a correctly sensed and interpreted genuine perception is given some additional (and typically bizarre) significance.
Hallucinations can occur in any sensory modality — visual, auditory, olfactory, gustatory, tactile, proprioceptive, equilibrioceptive, nociceptive, thermoceptive and chronoceptive.
A mild form of hallucination is known as a disturbance, and can occur in any of the senses above. These may be things like seeing movement in peripheral vision, or hearing faint noises and/or voices. Auditory hallucinations are very common in schizophrenia of the paranoid type. They may be benevolent (telling the patient good things about himself) or malicious, cursing the patient etc. Auditory hallucinations of the malicious type are frequently heard like people talking about the patient behind his back. Like auditory hallucinations, the source of their visual counterpart can also be behind the patient's back. Their visual counterpart is the feeling of being looked-stared at, usually with malicious intent. Not infrequently, auditory hallucinations and their visual counterpart are experienced by the patient together.
A pair of photographers aim their lenses within this interactive visual art experience, featuring multicolored lighting and various sized balloons that completely filled this enclosed space atop Roppongi Hills Mori Tower.
Olympus OM-D EM-1 with 12-40mm f/2.8 PRO
Near Hawksbay beach, Karachi, Pakistan.
Best view large View On Black
analyse my DNA OR
Here some photo in the order of Interestingness
Thanks everyone for visit ..... Have a great day to all !!
All copyrights to images and photos constituting the mosaic are the property of their respective owners.
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Do you want a personalized mosaic of your beloved ones ?
I can make a mosaic of you, your sweetheart, your children or even your boss ;) Looking for a way to create the perfect image for anniversaries, mother’s day, birthdays, team events, invitations, weddings – or simply to say ‘thanks’? You just found me.
Contact: cornejosanchezda@gmail.com
Noro Striped Scarf by Jared Flood
Jared Flood is a New York based photographer and knit designer. He designs his own patterns, knits all the projects for his books and does all of the photography, graphics and descriptions! He recently launched his own line of yarn, Shelter. Check out his website and flickr pages.
www.floodphotography.com/portfolio.html
www.flickr.com/photos/68971937@N00/
OUR DAILY TOPIC - LINES
346/365
COCA-COLA SIDE OF LIFE ART REMIX
The Coca-Cola iconic artworks serve as a blueprint and inspiration for new design impulses. The creative potential of the Remix project aims to draw out the hidden child in all of us. Elements from early-day-visuals are picked out, cut and pasted into a new visual.
The combination of the iconic footage with the contemporary Photoshop / Illustrator styles gives the opportunity to rediscover these images anew. The visuals are recognizable as vintage Coca-Cola but yet have a fresh feel.
The work of the Remix artists reflects various styles, personalities and cultures and the project shows how vibrantly creative the collaboration of a design network can be.
The diverse backgrounds of the contributing artists have resulted in a multifaceted world of imagery that draws its freshness from the mixture of approaches. Their mission is to spread an optimistic look at the world and help people realize how contagious happiness is. By combining iconic Coca-Cola images with up-to-date illustration techniques and styles, the artists have given rise to a progressive style of visual expression.
THE REMIX ARTISTS
For the Coke Side of Life Remix Art Gallery, “RockAndRoll Agency” creatively managed 15 artists/agencies/collectives from around the world: 013a, Romania, Europe * Adhemas, Brazil, South America * Büro Destruct, Swiss, Europe * CaosCC, Spain, Europe * Creative XL, India, Asia * DJ Spinbalon, Venezuale, South America * Extraverage / Drezign, Hungary, Europe * Fung Wee Lim, Canada, North America * Idokungfoo, Japan, Asia * Imny, USA, North America * Pixecute, Indonesia, Asia * Rex, South Africa, Africa * Serge Mienandi, Senegal, Africa * The Designers Republic, UK, Europe * Vault 49, USA, North America
PROJECT TEAM COCA-COLA
Peter Schelstraete, Global Brand Manager
Craig * Christenson, Senior Brand Manager * Marc Mathieu, Senior Vice-President Global Brand Marketing & Creative Excellence * Special Thanks to Phil Mooney, Ted Ryan & Jamal Booker, Collections Development/Archives Department
PROJECT TEAM ROCKANDROLL AGENCY
Wouter De Coster, Creative Director * Jean-Philippe Noterman, Managing Director * Fred Feyfer, Art Director * Contact: info@rockandrollagency.com
ABOUT ROCKANDROLL AGENCY
RockAndRoll Agency (RRA) is a full-cycle communication agency offering marketing services, strategic development and art direction. RRA was founded in 2003 in Brussels by Jean-Philippe Noterman and Wouter De Coster.
Jean-Philippe studied philosophy/anthropology, Wouter has a background as fashion designer. Before starting RRA, they worked together for 5 years in the publishing and communication business. Their work has earned them a lot of industry recognition.
RockAndRoll Agency has worked for clients as various as The Coca-Cola Group, Procter & Gamble, Motorola, W Hotels, Levi’s, Tommy Hilfiger, Fratini Group, Schott NYC, Pepe Jeans London, Nokia, Colombus Communications…
Blog: www.coca-cola-art.com
Coca-Cola Art Website: www.coke-art.com
YouTube Channel: www.youtube.com/cocacola86artgallery
When you look at someone who just had an inspired thought, what does it look like to you? Can you see the thought manifesting into reality?
Some background:
With more and more experience through military mecha in Japan during the late Nineties, Schaft Enterprise’s Europe branch started the development of civil Labors for public use. These models included the Type-8FF firefighting Labor, which was originally created for the Japanese market but eventually only sold and operated in the European market, and the Type-10P, a dedicated police duty Labor and a direct competitor to Shinohara Industry’s highly successful AV-98 Ingram.
The Type-10P was based on a completely new chassis and introduced many composite material elements that lightened its structure and even gave it a light armor protection against small caliber rounds. It was designed to be effective in situations like dealing with stolen labor units or rogue labors, but also for more mundane duties like riot control and escorts. Its intimidating size certainly helped psychologically. However, the Type-10P was not designed to take on military labors in close combat, even though it could be outfitted with manual weapon that would offer considerable firepower at distance. Typical police service weapons included a shield and a stun stick (with an optional taser function) as well as a handheld revolver gun, but other equipment was available, too. Precise manipulator fingers (with three fingers and one thumb on each hand) allowed delicate handling.
The pilot sat in a fully enclosed, climatized cabin in the Labor’s breast section, with an excellent field of view and protected from water and gas. In order to ensure proper surveillance under harsh conditions in any weather and at day and night, the Type-10P received a complex sensor suite, including a telescopic camera boom, a close-range Lidar and a directional microphone. Communication with other units was ensured by both radio and laser communication systems.
Further special equipment could be attached to the Type-10P’s back. These easily interchangeable “backpacks” included an extra battery for extended operation, a fuel-powered external generator with one or two powerful searchlights, a pack with loudspeakers, a large, retractable LED matrix display, and two packs with pressurized canisters that were connected with a handheld spray gun each, either carrying CO2 as a fire extinguisher or OC spray for riot control. Even an inflatable lifeboat was available, as well as special weapons like an EMP pulse rifle, which necessitated an external auxiliary battery pack, and a rearward-facing “brown note” infranoise generator.
Officially baptised “Michael”, after the German police’s Christian patron saint, the Type-10P was in 2000 adopted by special units of the German Bundespolizei and by some major police departments on federal state level. Typical German Labor units would operate two or three of these vehicles, primarily as support units for standard units when called upon in an emergency and also to counter Labor crimes and accidents. Their psychological value in riot control duties was highly appreciated, and the Type 10Ps were also frequently sent to official political events for PR purposes.
The Type-10P was also promoted abroad, esp. in Japan, but it was rejected there due to its size and the strong (and established) competition from Shinohara Industry, namely the MPL-97S “Python” and the AV-98 “Ingram”. However, eight Type-10Ps were sold to the Austrian Bundespolizei and an undisclosed small number was bought by a private security service company in Northern America.
Technical Data:
Code name: Type-10P "Michael"
Unit type: police labor
Manufacturer: SEE (Schaft Enterprises Europe)
Operator: German Federal Police (Bundespolizei) and several major German federal state
police departments (Berlin, Northrhine-Westphalia, Bavaria), Austria, USA
Number built: 33
Accommodation: pilot only, in heat- and ABC-insulated cockpit in front torso
Dimensions:
Overall height 9.42 meters
Overall width 5.95 meters
Minimum revolving radius: 6.0 meters
Weight:
Standard 6.55 metric tons
Full 8.1 metric tons
Armor materials:
Light composite armor, effective against fire and small caliber rounds of up to 12.7 mm
Powerplant:
unknown
Maximum weight lifting capacity:
2.50 metric tons
Equipment and design features:
Visual and acoustic sensors, range unknown, with suitable recording and data transfer equipment
Retractable visor cover
Highly articulated manipulator hands
Searchlights
Flashlights and four claxons/loudspeakers on the shoulders
Armaments:
No internal weapons installed;
The Type-10P can operate a wide range of handheld equipment like an extendable baton,
anti-terror shields, and weapons like a 42 mm revolver handgun, a taser or a 90 mm pellet shotgun.
Two hardpoints on the lower arms to attach equipment/weapons, plus a single hardpoint on the
back with the option to carry a wide range of equipment packages.
The kit and its assembly:
Traditions can be nice to keep up, and this build is actually a kind of serial project: in 2015, a group build under the motto "De-/Militarize it" ran at whatifmodellers.com, and I submitted a thorough conversion of a 1:60 "SEE Type-7 Brocken" Labor it from Bandai – a pure military Labor turned into a firefighting mecha.
Now, in early 2021, the “Blue Lights” group build ran, and Patlabor – an anime near-SF universe circling around robot-assisted police work – lent itself for another mecha submission. I had an AV-X0 prototype as well as two Ingram kits in store, but I wanted “something different” and also not a Japanese police Labor, since I had just built a fictional Daihatsu Move police car of the Tokyo Metropolitan Police Department. So, the choice fell on the “Phantom” kit as basis, what called for considerable modifications. The “Phantom” is actually an unmanned robot, but I found its stature quite intimidating and more plausible for a non-Japanese police Labor than e. g. a re-badged AV-X0.
At an early stage I already settled for a German police Labor, and took inspiration in some heavier vehicles that are operated by special units of the Bundespolizei, e.g. armored cars or water throwers. This also defined the Labor’s paint scheme (see below). However, the new police Labor’s design was far from certain, it gradually evolved while building the separate OOB elements. Thankfully, this 3rd generation mecha kit allows such a gradual progress, and step by step the details that had to be changed or scratched became clearer.
This primarily included:
A completely new head section; the Phantom has a kind of fixed "hood" with a relatively small and fixed "face unit" in its front. This would be changed into a free-standing head unit, like the standard Labors. I was lucky to find a leftover head unit from a “Helldiver”, an airborne military Labor from the same model universe – its pilot helmet added a tough look to my build, and I added some sensor booms from an Ingram, too. Some PSR went into the head’s re-design, too, and, in the end, it adds to the “riot control” look of my build.
The completely new head necessitated the complete removal of the original “hood” of the “Phantom” and its fixed, small head, and this gap had to be filled/framed with a scratched collar and a new attachment point for the new head. Later, the OOB “neck” element was integrated into the opening, and scratched hydraulic pistons filled void space.
In the same wake, a cockpit fairing was added to the chest, since this would become a manned vehicle, not a robot. This, as well as the collar, were sculpted with 2C putty.
In order to change the Labor’s hull shape a little more, I added a pair of headlights to the flanks of the breast – these are 1:24 car parts, left over from my recent Daihatsu Move build. The parts were fitted into holes, received a shiny backing with chrome foil (hard to tell through the protective grates, though) and were blended into the hull via PSR.
The pack with retractable boosters in the back as well as the extentable upper body (with the visible innards and the spinning blades hidden there) were omitted. Instead, I implanted a donor piece to the back (a back pack from an 1:144 Yha-Giga mecha from Megaro Zamac), which looks very mechanical (a heat exchanger, maybe?) and natural.
Furthermore, the openings for the “Phantom”’s original optical sensors in the chest were faired over.
New hands were deemed necessary; the OOB hands are much too slender and claw-like, and I was able to use the hands from an 1:24 PA-36HD (from Dorvack).
While raiding the donor banks I also came across suitable new shoulder guards, from an 1:144 “Serpent Custom” (Gundam). They replaced the OOB parts, they are taller and more edgy, which is against the “Phantom”’s rather organic design – but they were too good to be rejected, with consoles that would later carry flashlights (scratched) and louvres that could easily hide (and protect) sirens inside.
However, in order to integrate the new shoulder parts better into an overall look, I decided to modify the knee and elbow guards into a more squarish shape – with the help of styrene sheet and some (more) PSR. This stunt worked surprisingly well.
During this modification I also added hardpoints to the lower arms for equipment. I did not want a gun but rather fancied a riot shield and a baton. The right hand was modified to carry a stun baton, sourced from an Ingram kit, and the transparent shield was scratched from a mouth wash bottle.
Lots of work, but it was necessary to move the build away from its “Phantom” basis.
Painting and markings:
Basically very simple: all-blue. The current ID color of German police vehicles is RAL 5017 (Verkehrsblau/Traffic Blue), and before 2006 it was RAL 6029 (Pfefferminzgrün/Peppermint Green), both combined on standard vehicles with white - normally, these are leased white or, more recently, silver vehicles with foil. For the Labor's time frame around 2000, the classic green would have been appropriate, but I eventually voted for the later blue because it looks IMHO less militaristic.
Further design background: German special police vehicles like water throwers or armored cars rather carry a uniform livery, contrasted with very dark grey around the lower areas, and that's what I adopted for the Michael I police Labor, too, using the “Phantom”’s original livery as benchmark.
In Gunze Sangyo’s Mr. Hobby H15 (Bright Blue) I found a pretty good guesstimate for the characteristic German police blue, and it was contrasted with Revell 06 (Tar Black; RAL 9021). The backpack became medium grey, a similar tone to the silicone covers (which were left unpainted, just treated with a washing with thinned dark grey acrylic artist paint), and this medium grey was also used for some detail contrasts around the hull. This looks rather dry, but it reflects the sobriety of German police items, and the uniform blue is also a good contrast to the Japanese police Labors in white and black in my collection, and the others, too. A few highlights in white and cream are the only distractions.
Even though I did not want to weather the model, I did some dry-brushing/post shading (Humbrol 25, Revell 09, 77 and 75 in some areas) to emphasize the shapes/edges and to make the large areas, esp. on the legs, less uniform.
The markings come from two aftermarket sheets for German police cars: one is a 1:43 scale sheet from IDC Decals, the other a 1:87 scale sheet from TL Modellbau. The provided not only suitably-sized “Polizei” letterings and emblems, the IDC set also came with the characteristic dotted trim lines (reflective material in real life) that decorate many typical German police cars and which help to visually structure the Labor’s lines – even though their application to the bulbous surface of the model was not easy, and I rather used them sparsely.
After some more detail painting (e. g. some fake black panel lines, created with a fine felt tip pen) the model’s sections were sealed with a mix of matt and some semi-gloss acrylic varnish on the blue areas for a sheen finish, while the dark grey areas were painted with pure matt varnish.
The build of the “Michael I” police Labor was quite a challenge – mostly because it was not easy to get away from the model’s “Phantom” basis. But with the completely new head/shoulder section and the slight mods on arms and legs it looks quite unrelated – but still intimidating. The all-blue livery is not spectacular, but true to German standards, and it works surprisingly well and convincingly.
recommend the current exhibition!
www.imma.ie/en/page_236799.htm
www.visualcarlow.ie/exhibitions/info/patrick-scott-image-...
Patrick Scott Exhib Pt2
archiseek.com/2009/visual-carlow-ireland/
_MG_9441bw
I'm entering this in a call for visual journals by the Brooklyn Sketchbook Library to be put in a time capsule for 50 years (!). I've decided the theme will be birds, with the Emily Dickinson quote in mind, "I hope you love birds too. It's economical. It saves going to heaven."
If you look at the upper right quadrant you'll notice a profusion of tiny yellow dots. It's unexpected, uncontrolled magic like this that makes my heart skip a beat. It's the magic of what I call a Random Act of Art: when the medium and physics/chemistry/the Divine do the work and I am just one small, humble player in the creation. I never tire of this!
One of the most ambitious project at this year’s burn – and at 2.6 miles long, the physically largest project ever built here – is the cerebral but playful Straightedge by Ardent Heavy Industries. Straightedge illustrates the curvature of the earth, and dispels our visual assumption that any stretch of the planet is as flat as it looks. The collective of artists achieves this by placing poles 50 feet apart for 2.6 miles, each adorned with two LED lights controlled by satellite to blink in unison. At one end of Straightedge, the lights are right next to each other. But one line of lights follows the surface of the actual earth: the other is actually straight. At first, the two lines start to drift apart incrementally by inches. By the end of the 2.6 miles, they lines are about five feet apart, and shattering the idea that the flat looking playa is so level after all.
[from www.theguardian.com/culture/2015/sep/01/burning-man-art-i...]