View allAll Photos Tagged amplification
Another piece of street art in Asbury Park, NJ by Shepard Fairey. This is stenciled onto the bricks of this building next to the convention center. I had a look with Google street view and noted that this stenciled image was still here at the time the Google camera car went by.
Respect thy Father, Mother & Country was my first program. After all, isn't it their empathy that tells me to put on my toque and mittens...Eh? lol ♥
A vintage amp awaits to be plugged in during a recording session at Blue Light Studio in Vancouver. bit.ly/PBMusicFB
Another neat piece of treasure left behind for me to play with! This behemoth has always reminded me of some sort of old, iron phonograph, blasting its song of the mining days out into the Hills.
The Tre Cime di Lavaredo emerge majestically in a dramatic contrast of light and shadow. The dark peaks, sculpted by wind and time, dominate the landscape, while the sky above them, veiled in clouds, amplifies the feeling of isolation and mystery
Day 122 - October 9th, 2007. Everything is amplified. My "other grandfather" died today. My bicycle is officially out of commission. I'm sad but I'm okay. Everything is loud, but not quite out of control. Everything just feels really intense right now.
1BRETHREN, IF any person is overtaken in misconduct or sin of any sort, you who are spiritual [who are responsive to and controlled by the Spirit] should set him right and restore and reinstate him, without any sense of superiority and with all gentleness, keeping an attentive eye on yourself, lest you should be tempted also.
2Bear (endure, carry) one another's burdens and [a]troublesome moral faults, and in this way fulfill and observe perfectly the law of Christ (the Messiah) and complete [b]what is lacking [in your obedience to it].
3For if any person thinks himself to be somebody [too important to condescend to shoulder another's load] when he is nobody [of superiority except in his own estimation], he deceives and deludes and cheats himself.
- Galatians 6:1-3 (Amplified Bible)
Excerpt from irisvanherpen.com:
BIOPIRACY - In the recent past, patents on our genes have been purchased. Are we still the sole proprietor of our bodies? From this question arises a sense of arrested freedom in one's most intimate, solitary state. A mix of ready-to-wear and couture pieces is presented with artist Lawrence Malstaf -who specializes in the interaction between biology and physicality.
Models float in the air, embryonic, seemingly weightless and in a meditative suspended animation.
Metamorphosis is suggested through intricate enmeshing of materials. Imprisoned fire opal beads gleam through lacerated weaves, artificial fibers compose voluminous, architectural structures, the organic ripple of light on water.
A 3D printing collaboration with Julia Koerner fuses the artisanal with the technical to create a kinetic dress which dances as it amplifies bodily movement. Molded boots in collaboration with United Nude accelerate and reconfigure the silhouette.
You couldn't write it. Well, you can, but some people will always ignore it because, obv, it does not apply to them (even though it applies precisely to them). Surprisingly she did not get pinged £3 to aid and abet her criminal enterprise but more for lacking any sense of irony and any consideration for those living nearby (and, if it makes a difference, the nearest residents are all council tenants).
French postcard, no. 2056. Kevin Costner in Dances with Wolves (Kevin Costner, 1990).
Kevin Costner (1955) is one of Hollywood's most prominent strong, silent types. He had his breakthrough with his portrayal of Eliot Ness inThe Untouchables (1987). For several years he was the celluloid personification of the baseball industry, given his indelible mark with baseball-themed hits like Bull Durham (1988), Field of Dreams (1989), and For Love of the Game. His epic Western Dances with Wolves (1990) marked the first break from this trend and established Costner as a formidable directing talent to boot. He received two Oscars, two Golden Globes, and a Primetime Emmy. Although several flops in the late 1990s diminished his bankability, for many, Costner remained one of the industry's most enduring and endearing icons.
Kevin Costner was born in 1955, in Lynwood, California, and grew up in Compton. His mother, Sharon Rae (Tedrick), was a welfare worker, and his father, William Costner, was an electrician and, later, a utility executive at Southern California Edison. Kevin was not academically inclined in school. He enjoyed sports (especially football), took piano lessons, wrote poetry, and sang in the First Baptist Choir. While a marketing student at California State University in Fullerton, he became involved with community theatre. Upon graduation in 1978, he married Cindy Silva, who worked at Disneyland as Cinderella. Costner took a marketing job that lasted all of 30 days before he decided to take a crack at acting. He took work that allowed him to develop his acting skills via tuition, including working on fishing boats, as a truck driver, and giving tours of stars' Hollywood homes to support the couple while he also attended auditions. He made an inauspicious film debut in the ultra-cheap independent film Sizzle Beach USA/Hot Malibu Summer (Richard Brander, 1986), AllMovie mentions 1974 as the premiere date. According to Wikipedia, Filmed in the winter of 1978–1979, the film was not released until 1981 and re-released in 1986 after Costner became a celebrity. However, Costner decided to take a more serious approach to acting. Venturing down the usual theatre-workshop, multiple-audition route, the actor impressed casting directors who weren't really certain of how to use him. That may be one reason why Costner's big-studio debut in Night Shift (Ron Howard, 1982) consisted of little more than background decoration, and the same year's Frances (Graeme Clifford, 1982) starring Jessica Lange, featured the hapless young actor as an off-stage voice. Director Lawrence Kasdan liked Costner enough to cast him in the important role of the suicide victim who motivated the plot of The Big Chill (Lawrence Kasdan, 1983). Unfortunately, his flashback scenes were edited out of the film, leaving all that was visible of the actor - who had turned down Matthew Broderick's role in WarGames (John Badham, 1983) to take the part - to be his dress suit, along with a fleeting glimpse of his hairline and hands as the undertaker prepared him for burial during the opening credits. Two years later, a guilt-ridden Kasdan chose Costner for a major part as a hell-raising gunfighter in the 'retro' Western Silverado (Lawrence Kasdan, 1985), this time putting him in front of the camera for virtually the entire film. He also gained notice for the Diner-ish buddy road movie Fandango. The actor's big break came two years later as he burst onto the screen in two major films, No Way Out (Roger Donaldson, 1987) and The Untouchables (Brian De Palma, 1987); his growing popularity was further amplified with a brace of baseball films, released within months of one another. In Bull Durham (Ron Shelton, 1988), the actor was taciturn minor-league ballplayer Crash Davis, and in the following year's Field of Dreams (Phil Alden Robinson, 1989), he was Ray Kinsella, a farmer who constructs a baseball diamond in his Iowa cornfield at the repeated urging of a voice that intones "if you build it, he will come." Riding high on the combined box-office success of these films, Costner was able to make his directing debut. With a small budget of 18 million dollars, he went off to the Black Hills of South Dakota to film the first Western epic that Hollywood had seen in years, a revisionist look at American Indian-white relationships titled Dances With Wolves (Kevin Costner, 1990). The supposedly doomed project, in addition to being one of 1990's biggest moneymakers, also took home a slew of Academy Awards, including statues for Best Picture and Best Director.
Kevin Costner's luck continued with the costume epic Robin Hood: Prince of Thieves (Kevin Reynolds, 1991). The film made money, though it seriously strained Costner's longtime friendship with director Reynolds. The same year, Costner had another hit - and critical success - on his hands with JFK (Oliver Stone, 1991). The next year's The Bodyguard (Mick Jackson, 1992), a romantic thriller which teamed Costner with Whitney Houston, did so well at the box office that it seemed the actor could do no wrong. However, his next film, A Perfect World (Clint Eastwood, 1993), casting Costner against type as a half-psycho, half-benign prison escapee, was a major disappointment, even though Costner himself garnered some acclaim. Bad luck followed Perfect World in the form of another cast-against-type failure, the Western Wyatt Earp (Lawrence Kasdan, 1994). Hal Erickson at AllMovie: "Adding insult to injury, Costner's 1995 epic sci-fi adventure Waterworld received a whopping amount of negative publicity prior to opening due to its ballooning budget and bloated schedule; ultimately, its decent box office total in no way offset its cost." The following year, Costner was able to rebound somewhat with the romantic comedy Tin Cup (Ron Shelton, 1996), which was well-received by the critics and the public alike. Unfortunately, he opted to follow up this success with another large-scaled directorial effort, an epic adaptation of author David Brin's The Postman (Kevin Costner, 1997). It featured Costner as a Shakespeare-spouting drifter in a post-nuclear holocaust America whose efforts to reunite the country give him messianic qualities. Like Waterworld, The Postman received a critical drubbing and did poorly with audiences. Costner's reputation, now at an all-time low, received some resuscitation with the romantic drama Message in a Bottle (Luis Mandoki, 1998), with Robin Wright, and later the same year he returned to the genre that loved him best with the baseball drama For Love of the Game (Sam Raimi, 1998). A thoughtful reflection on the Cuban missile crisis provided the groundwork for the mid-level success of the historical political thriller Thirteen Days (Roger Donaldson, 2000).
Kevin Costner's played a member of a group of Elvis impersonating casino bandits in 3000 Miles to Graceland (Demian Lichtenstein, 2001) with Kurt Russell. This film drew harsh criticism, relegating it to a quick death at the box office. Costner's next effort was a more sentimental supernatural drama lamenting lost love, Dragonfly (Tom Shadyac, 2002). Hal Erickson at AllMovie: "Costner fared better in 2003, and returned to directing, with Open Range, a Western co-starring himself and the iconic Robert Duvall -- while it was no Dances With Wolves in terms of mainstream popularity, it certainly received more positive feedback than The Postman or Waterworld." Next, Costner starred alongside Joan Allen in the drama The Upside of Anger (Mike Binder, 2004). It cast Allen as a single, upper-middle-class woman who unexpectedly strikes up a romance with the boozy ex-baseball star who lives next door (Costner). Even if divided on the picture as a whole, critics unanimously praised the lead performances by Costner and Allen. After the thoroughly dispiriting quasi-sequel to The Graduate, Rumor Has It... (Rob Reiner, 2005), starring Jennifer Anniston, Costner teamed up with Fugitive director Andrew Davis for the moderately successful Coast Guard thriller The Guardian (Andrew Davies, 2006), co-starring Ashton Kutcher. Costner then undertook another change-of-pace with one of his first psychological thrillers: Mr. Brooks, (Bruce A. Evans, 2007). Playing a psychotic criminal spurred on to macabre acts by his homicidal alter ego (William Hurt), Costner emerged from the critical- and box-office failure fairly unscathed. He came back swinging the following year with a starring role in the comedy Swing Vote, playing a small-town slacker whose single vote is about to determine the outcome of a presidential election. Costner's usual everyman charm carried the movie, but soon he was back to his more somber side, starring in the recession-era drama The Company Men (John Wells, 2010) alongside Ben Affleck, Chris Cooper, and Tommy Lee Jones. As the 2010s rolled on, Costner's name appeared often in conjunction with the Quentin Tarantino film Django Unchained prior to filming, but scheduling conflicts would eventually prevent the actor from participating in the project. He instead signed on for the latest Superman reboot, playing Clark Kent's adoptive dad on Planet Earth in Man of Steel (Zack Snyder, 2013) starring Henry Cavill. In 2020, he returned to form with Let Him Go (Thomas Bezucha, 2020) with Diane Lane.
Sources: Hal Erickson (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Cova de Sa Tuna
Baix Empordà, Northern Spain
Press the 'Go' and then type 'L' to enlarge. It loops. 'Escape' to return.
To hear the subsonics and reverbs the video needs to to be viewed on a computer linked to a sound system and there is no effect on a portable phone or tablet.
A test for acoustic properties. On the third pass you can just hear a 'sweet spot' of reverb that has astonishingly deep subsonics. Whilst the sound on the camera is poor and equalised, and the Flickr processing compressed, you can still just hear both the reverb and sweet spot by listening to the end of the test sounds and 'underneath' the sounds. When in this man-made late bronze age cavity, the accelerated effect of the sweet spot is astonishing and like being inside a musical instrument. The space itself is like a large pot with the sweet spot on the upper left as you look in from outside.
The sound in the clip is an alternative to clapping and is not meant to illustrate a potential.
With the nearby Cova dels Clots de Sant Julià seeming to have had a past with acoustic properties, it seems worthwhile testing other man made prehistoric cavities of the local area. A reverb for a tone will also reverb for a song or a musical instrument. The reverb of this space feeds back on itself and the term amplification must apply. Prehistoric monolithic amplification.
This site is currently proposed as a sepulture. Whilst individuals may have asked to be buried here at the end of its period of meaning, the origins of the cavity may have been for applied musical effect over large distances.
A choir of 10 singing from inside
A drum skin attached outside and wedged against an interior roped beam.
Early oboes turning rondes.
Interior percussive cascades.
Lone melodious voice...
Unlike the Sant Julià site, which sits clean above an established quarry, the Sa Tuna site looks at first site to be on a typical hunters outcrop of rock, uphill from a fine menhir. Aside the idea of a sepulture, one might expect an explanation as a food store or shelter of one form or another. Providing the arguments as to how an 'acoustic cavity' may have been created on this spot requires a step back...
AJM 07.05.18
I figured it was time to post something from my catalog of flowers and seeing how orange is my favourite colour i thought this would be a fair choice . Cheers
Toa Gaia & custom kanohi's
The Kanohi Faxon was forged was rival_mocs on Instagram. original by Khingk
and the Mangai KauKau was painted by driftingmoc on Instagram
Forged by Vahki6
Build: Metru x Mahri
Kanohi: Great Mangai Kanohi Kaukau.
Formally the trans-blue amplified ruru.
allows the user to have greater vision underwater
specifically: dark, murky and cloudy water, etc.
Mahri: Amplified Faxon
Allows the user to mimic rahi powers
hunting skills and how they would strategize in difficult situations
Story: secret special agent and naval forces. unknown by Turaga Dume who just happened to be Makuta in disguise in Dume's position. ordered to spy on him and report back to Lhikan, the Order of Mata-Nui or both. secondly to immobilize corrupted vahki abusing their power over the law.
Strobist Info: Canon 430 EXII on full power through soft box from above, and a Walimex flash with guide number 43 on 1/4 of its power from the lower right through diffusor.
The low angle mid afternoon December sun amplifies the details on Soo 6401. It along with 6403 head east, albeit slowly, at Nashotah.
One weekend I came across hundreds of teenagers entering the subway dressed up as various anime characters. I decided to get of at the same stop, and discovered it was a kind of convention. I am personally not so interested in the field(though I enjoy many of Miyazaki's movies together with my daughter), but it was a great opportunity for portraits.
Seoul, South Korea, July 2010.
Copyright © Ioannis Lelakis.
All rights reserved.
(I replaced to a textured version since the original upload)