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The Titan scanning/transmission electron microscope, also known as the Titan Cubed, is being installed in the Materials Research Institute at the Millenium Science Complex on Penn State's University Park campus. This leading-edge instrument will greatly enhance the capabilities of researchers and will take imaging and chemcial characterization to a new level with subatomic resolution. Go to www.mri.psu.edu/news/2012/fei_titan/ for more.
Rodney the Ram visits the Nanomaterials Core Characterization Facility in VCU's Institute for Engineering and Medicine.
Mítica noche de difuntos, en uno de las pub de Rock mas emblemáticos de l barrio antiguo de Valencia "La Flama" .
Cada año la gente se motiva mas en sus caracterizaciones.
Si pasáis por Valencia no paséis por alto el lugar.
Model 4225-PMU Ultra Fast I-V Module, the latest addition to the growing range of instrumentation options for the Model 4200-SCS Semiconductor Characterization System. It integrates ultra-fast voltage waveform generation and current/voltage measurement capabilities into the Model 4200-SCS’s already powerful test environment to deliver the industry’s broadest dynamic range of voltage, current, and rise/fall/pulse times, expanding the system’s materials, device, and process characterization potential dramatically. Just as important, the Model 4225-PMU makes ultra-fast I-V sourcing and measurement as easy as making DC measurements. Its wide programmable sourcing and measurement ranges, pulse widths, and rise times make it well-suited for applications that demand both ultra-fast voltage outputs and synchronized measurement—from nanometer CMOS to flash memory. For more information, visit keithley.acrobat.com/p77402742/.
OPPENHEIM, Alan V.; WILLSKY, Alan S.; NAWAB, Syed Hamid. Signals & systems. 2 ed. Nova Jersey: Prentice Hall, c1997. xxx, 957 p. (Prentice-Hall signal processing series). Inclui bibliografia e índice; il. tab. quad.; 25cm. ISBN 0138147574.
Notas de conteúdo:
1. Signals and Systems
2. Linear Time-Invariant Systems
3. Fourier Series Representation of Periodic Signals
4. The Continuous-Time Fourier Transform
6. Time and Frequency Characterization of Signals and Systems
7. Sampling
8. Communication Systems
9. The Laplace Transform
10. The z-Transform
11. Linear Feedback Systems
App. Partial-Fraction Expansion
Palavras-chave:
ANALISE DE SISTEMAS; TEORIA DOS SINAIS/Telecomunicação; PROCESSAMENTO DE SINAIS.
CDU 621.391 / O62s / 2 ed. / 1997
The Samara Lab studies how alternative splicing regulates GalNAc-T function. One of the goals is to use the structural and biochemical characterization of GalNAc-T substrate preferences to predict in vivo substrates, which are often unknown, and thus further our understanding of the downstream effects of aberrant O-glycosylation that arise due to mutations in GALNT genes that alter enzymatic activity. By determining GalNAc-T substrates, scientists can learn how aberrant glycosylation influences the protective role of mucus and its interactions with microbes in diseases.
Learn more: www.nidcr.nih.gov/research/conducted-at-nidcr/intramural-...
Finally a beta version of OOGA's online catalog.
I did the design, visual identity & e-branding, characterization & mock up, html, css and most of the javascript. all but the back office programing. I've been working on this project for quite a while now focusing on creating an innovative interface which would be as simple and intuitive as possible. The menu on top indicates the category and the designer's name according to the product displayed. One of the valorous features of the site is the fact that it is homepageless.
Oh! it hasn't been adapted to work in Internet Explorer 6. Still beta, you know...
Babies are so hard to take pictures of! Well, I should say toddlers, babies are easy. Haylee would not sit still for a single photo, so I had to take what I could from this.
I would totally love a Christmas tree back drop.
Bugs Bunny is a fictional character created in the late 1930s at Warner Bros. Cartoons (originally Leon Schlesinger Productions) and voiced originally by Mel Blanc. Bugs is best known for his featured roles in the Looney Tunes and Merrie Melodies series of animated short films, produced by Warner Bros. Earlier iterations of the character first appeared in Ben Hardaway's Porky's Hare Hunt (1938) and subsequent shorts before Bugs's definitive characterization debuted in Tex Avery's A Wild Hare (1940). Bob Givens, Chuck Jones, and Robert McKimson are credited for defining Bugs's design.
Bugs is an anthropomorphic gray-and-white rabbit or hare who is characterized by his flippant, insouciant personality. He is also characterized by a Brooklyn accent, his portrayal as a trickster, and his catchphrase "Eh... What's up, doc?". Through his popularity during the golden age of American animation, Bugs became an American cultural icon and Warner Bros.' official mascot.
Bugs starred in more than 160 short films produced between 1940 and 1964. He has since appeared in feature films, television shows, comics, and other media. He has appeared in more films than any other cartoon character, is the ninth most-portrayed film personality in the world and has his own star on the Hollywood Walk of Fame
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Workers who package soil samples to be send off to a laboratory for testing as part of the soil characterization work at East Tennessee Technology Park.
Iron Shell, LLC
415 N Plumer Ave, Tucson, AZ 85719
520-207-9043
ecorp.azcc.gov/Details/Corp?corpId=L17508699
Patent - CURABLE COMPOSITION, PASTE, AND OXIDATIVELY CARBONATED COMPOSITION
Strain energy and process zone based fracture characterization
of a novel iron carbonate binding material.
Iron Shell, LLC has developed a carbon-negative, iron-based binder for use with recycled materials — as an alternative to regular concrete. Their green product, Ferrock-TM, uses sustainable materials and has reduced environmental impact, greater flexural strength and resistance to salt water corrosion.
A shot of the constellation Orion at ISO 1600 -- taken as part of a series of ISO characterization images with my Olympus E-M1II camera. Post coming soon, over on my blog...
Copyright © 2016 Seldom Scene Photography, All Rights Reserved.
A Center for Functional Nanomaterials (CFN) scientist loads a sample for x-ray measurement at the National Synchrotron Light Source II (NSLS-II) Complex Materials Scattering (CMS) beamline. An instrument designed and operated in partnership between the CFN and NSLS-II allows characterization of materials’ structure during formation. (Esther Tsai, CFN)
NETL researcher, Beom-Tak Na, inserts a solid oxide fuel cell (SOFC) sample into an atmosphere controlled chamber to be characterized using a technique called Electrical Conductivity Relaxation (ECR). The ECR technique allows NETL to obtain conductivity parameters of novel SOFC materials with high accuracy. Reliable materials characterization is critical for understanding how SOFC developed with these materials will behave over long-term operation. NETL’s research into SOFC technology, which converts the chemical energy of a fuel and an oxidizing agent into electricity, holds the potential to dramatically reduce greenhouse gas emissions while using our nation’s abundant fossil fuel resources
Master of the Vyšší Brod Altarpiece (active in the Second Quarter of the 14th Century)
Vyšší Brod Altarpiece
Ascension of Christ
Prague, around 1350
Origins in the Cistercian Monastery church of the Assumption in Vyšší Brod (on loan from the Vyšší Brod Cistercian Abbey)
The scene of th Ascension of Christ is dominated by the figures of the Virgin Mary and St Peter. Similarly to the panel with the theme of the Pentecost, also here is obvious the painter's attempt for individual characterization of the Apostles.
The Agnes Monastery is one of the most important Gothic buildings in Prague. It was founded in the thirties of the 13th century by the Přemyslid princess, Saint Agnes of Bohemia, together with her brother, King Wenceslas I. The round tour of visitors deals with the history of the individual parts of the unique, preserved ground of the medieval monastery. All the important rooms are accessible, including the oratory of St. Agnes, the Sanctuary of the Salvator and the Church of Saint Francis, with the place where the remains of King Wenceslas I. are kept.
The Agnes Monastery (Anežský klášter) in a new face
Visit the unique gothic monastery of St. Agnes of Bohemia - a hidden treasure in the center of Prague. After reconstruction, the National Gallery in Prague opened a sightseeing tour of the history of the monastery, including the Lapidary, the Cloister, the Refectory as well as the Smokehouse. An oasis of tranquility are the monastic gardens accessible to the public (accessible all year round and free of charge) with statues by leading Czech artists.
The permanent exhibitions of old, modern and contemporary art now can be viewed at a price of CZK 300, or CZK 150 with a discount. During the seven-week validity of the ticket you can visit all six buildings of the National Gallery in Prague.
Nationalgalerie in Prag – Kloster der Hl. Agnes von Böhmen (Národní galerie v Praze – klášter sv. Anežky České/Convent of St Agnes of Bohemia/Le couvent Sainte Agnès de Bohême/El Monasterio de santa Inés checa/Il Convento di Sant’Agnese di Boemia)
Das Agneskloster zählt zu den bedeutendsten gotischen Bauten In Prag. Es wurde in den 30-er Jahren des 13. Jahrhunderts von der Přemysliden-Prinzessin, der Heiligen Agnes von Böhmen, gemeinsam mit ihrem Bruder, König Wenzel I., gegründet. Der Besucherrundgang beschäftigt sich mit der Geschichte der einzelnen Teile des einzigartigen, erhaltenen Grundrisses des mittelalterlichen Klosters. Es sind alle bedeutenden Räumlichkeiten zugänglich, inklusive des Oratoriums der Heiligen Agnes, des Heiligtums des Salvators und der Kirche des Heiligen Franz mit dem Platz, wo die sterblichen Überreste von König Wenzel I. aufbewahrt werden.
Das Agneskloster (Anežský klášter) in neuem Antlitz
Besuchen Sie das einzigartige gotische Kloster der Hl. Agnes von Böhmen – ein versteckter Schatz im Zentrum Prags. Die Nationalgalerie in Prag hat nach dem Umbau eine Besichtigungstour der Geschichte des Klosters eröffnet, welche unter anderem das Lapidarium, den Kreuzgang, das Refektorium sowie die Rauchküche beinhaltet. Eine Oase der Ruhe sind die der Öffentlichkeit erstmals zugänglichen Klostergärten (ganzjährig und gratis zugänglich) mit Statuen führender tschechischer Künstler.
Die Dauerausstellungen der alten, modernen und zeitgenössischen Kunst kann man jetzt zum Einheitspreis von CZK 300, beziehungsweise CZK 150 mit Ermäßigung, besichtigen. Während der siebenwöchigen Gültigkeit des Tickets können Sie alle sechs Gebäude der Nationalgalerie in Prag besuchen.
www.prague.eu/de/objekt/orte/768/nationalgalerie-in-prag-...
Mítica noche de difuntos, en uno de las pub de Rock mas emblemáticos de l barrio antiguo de Valencia "La Flama" .
Cada año la gente se motiva mas en sus caracterizaciones.
Si pasáis por Valencia no paséis por alto el lugar.
Mickey Leland research associate Diana Alvarado working in the lab with mentor Biswanath Dutta. Diana is working on the Reaction Engineering Team at NETL studying Synthesis and Characterization of high-energy-surface structures/facets for alkane dehydrogenation reactions. In this research, Diana will learn how to conduct database searching and how to use NETL supercomputer Joule 2.0 to perform density functional theory (DFT) calculations and lattice phonon dynamics simulation with existing software packages (VASP, PhonoPy, etc.). This project is directly related to our research tasks of the on-going NETL Carbon Capture FWP on developing CO2 capture & utilization technologies for fighting global warming.
Iron Shell, LLC
415 N Plumer Ave, Tucson, AZ 85719
520-207-9043
ecorp.azcc.gov/Details/Corp?corpId=L17508699
Patent - CURABLE COMPOSITION, PASTE, AND OXIDATIVELY CARBONATED COMPOSITION
Strain energy and process zone based fracture characterization
of a novel iron carbonate binding material.
Iron Shell, LLC has developed a carbon-negative, iron-based binder for use with recycled materials — as an alternative to regular concrete. Their green product, Ferrock-TM, uses sustainable materials and has reduced environmental impact, greater flexural strength and resistance to salt water corrosion.
Notice carefully-
Images posted here are strictly prohibited for any kind of advertisement and commercial usages or display without my permission.
-AUTHOR.
Fields i’ve worked with-
1.Digital drawing and illustrations- Fractal arts, Vector and Rasterizaions.
2.Photo maniputaltion- Level and adjustment makeover.
3.3d characterization in Poser- Technical and Cartoon characterizations.
4.Painting and airbrushing- 2D brush works, portrait and postering.
5.Advertisement- Add graphics designing and marketing.
6.Web graphics and development- Web image allocation and modification.
7.Logo and business card designing.
8.Manufacturing Advertisements.
9.Poster and Graffiti.
10.Stock-image photography.
•Highly experienced in Use of design tools like: Photoshop Cs3, Corel Draw12, Illustrator Cs3, Dreamweaver Cs3, Poser7, Xara utilities, Swish, Flex, Macromedia Suit.
To watch my creative works-
Other certifications- A+,NIIT short term coerces, Aptech cources, Creative trainings.
Contact info-
Joy.
secret_culture@yahoo.com
Mobile no: +8801714303618
Mítica noche de difuntos, en uno de las pub de Rock mas emblemáticos de l barrio antiguo de Valencia "La Flama" .
Cada año la gente se motiva mas en sus caracterizaciones.
Si pasáis por Valencia no paséis por alto el lugar.
White Sands Missile Range Museum
FTT-3 "Zero Offset" Seeker Characterization Test
FIDO (Fight, Intercept, Destroy, and Overcome) has been the Terminal High Altitude Area Defense flight test program mascot, created by Lockheed Martin Systems Engineer Gary Vonderlinden.
Lockheed Martin and the THAAD Project Office conducted five flight tests at White Sands Missile Range for the Engineering Manufacturing and Development phase of the program from November 2005 through June 2007.
The THAAD Team thanks WSMR for their outstanding support.
Monster High is an American fashion doll franchise created by Mattel in July, 2010. The characters are inspired by monster movies, sci-fi horror, thriller fiction, and various creatures therefore distinguishing them from most fashion dolls. They were created by Garrett Sander, with illustrations by Kellee Riley.[2]
The Monster High franchise also includes other consumer products such as stationery, bags, key chains, various toys and video games. There are also Monster High TV specials, a web series, a direct to DVD movie, and software. Lisi Harrison is the author of the Monster High books. The characters are depicted as being either related to or as offspring of famous monsters such as Dracula, Frankenstein's Monster, the Mummy, Medusa, the Creature from the Black Lagoon, the Phantom of the Opera, and zombies and more. The characters are usually referred to as ghouls, rather than girls.
The dolls are approximately 27 cm tall. Or about 1 foot tall. Their bodies are made from ABS plastic. Their heads are made from soft PVC. They have various skin tones (blue, green, pink, brown, etc.) Each character has a unique head mold. No Monster High doll has the same shape head. The type of hair the dolls have is saran. The boys hair is either fuzzy or hard colored plastic. Aside from physical attributes, the dolls are quite different in the characterization of their clothes. And they all have their own unique freaky flaw, hair, etc. They might repeat bags and sunglasses. For example, 13 Wishes Howleen has the same bag as the original Clawdeen only that it is a different color. One is gold and another is purple and black. But they are both sisters. Plus, Howleen likes to borrow a lot of Clawdeen's stuff. And Gloom Beach Frankie Stein has the same sunglasses as the Scaris Frankie Stein. One s blue and one is yellow. All of them have various attributes of the monsters they are related to (i.e. fangs, stitches, wolf ears, fins, bandages,snakes, etc.)[3] Although Monster high and Barbie are from the same creator, Mattel, Monster High is starting to become more popular than Barbie.
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Monster High est une franchise américaine de poupées mannequins lancée par Mattel en juillet 2010 aux États-Unis, tirée d'une série de livres du même nom (de Lisi Harrison). Les personnages sont inspirés de personnes assez monstrueuses issues de la littérature fantastique, de la mythologie, ou encore de films cultes. Les Monster High sont toutes des enfants de monstres (Frankie Stein est la fille de Frankenstein, Draculaura est celle de Dracula, Deuce Gorgon est le fils de Méduse...).
La franchise Monster High se décline sur de très nombreux produits comme des vêtements, des bijoux fantaisie et de la papeterie, mais ses principales ventes se font grâce aux poupées mannequins du même nom. Elle s'accompagne également d'épisodes spéciaux pour la télévision et le marché DVD, et d'une web-série.S
Le concept de Monster High met en scène des adolescents tous descendants de créatures plus ou moins célèbres. Certaines poupées sont relookėes.
Les poupées mannequins mesurent une vingtaine de centimètres ; les garçons sont plus grands que les filles, même s'il existe des différences de taille chez certaines poupées (Twyla et Howleen Wolf sont plus petites, Nefera de Nile et Mme. Santête sont plus grandes...). Les corps (qui comptent de nombreuses articulations) sont fabriqués en plastique ABS et les têtes sont en PVC souple. Chaque personnage bénéficie d'un moule différent pour sa tête. Les cheveux sont en saran ou en kanekalon, voire en PVC pour les garçons dont les cheveux sont, pour la plupart des personnages, moulés. Les poupées filles de Monster High peuvent enlever leurs mains et bras mais les garçons ne peuvent enlever que leurs bras. Lagoona Blue, Rochelle Goyle et C.A. Cupid ont des éléments amovibles que les autres poupées n'ont pas (des nageoires pour Lagoona Blue, des ailes pour Rochelle Goyle et C.A. Cupid). Comme les filles ont des chaussures à talons, elles ne peuvent pas bouger leurs pieds, tandis que les garçons ont les pieds articulés.
Chaque personnage est caractérisé par un style vestimentaire et une gamme de couleurs qui se retrouvent dans différentes collections et qui reflètent leur personnalité dans la web-série.
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Mítica noche de difuntos, en uno de las pub de Rock mas emblemáticos de l barrio antiguo de Valencia "La Flama" .
Cada año la gente se motiva mas en sus caracterizaciones.
Si pasáis por Valencia no paséis por alto el lugar.
Mítica noche de difuntos, en uno de las pub de Rock mas emblemáticos de l barrio antiguo de Valencia "La Flama" .
Cada año la gente se motiva mas en sus caracterizaciones.
Si pasáis por Valencia no paséis por alto el lugar.
Flint is the state gemstone of Ohio. "Flint" is sometimes used as a lithologic term by modern geologists, but it is a synonym for chert. Flint and chert are the same - they are cryptocrystalline, quartzose sedimentary rocks. Rockhounds often assert that flint is high-quality while chert is low-quality. Some geologists assert that "flint" implies a biogenic origin and "chert" implies a chemical origin.
Many cherts do have a chemical origin - chert nodules are moderately common in some limestone units. The nodules form during diagenesis - pre-existing silica components in the carbonate sediments are dissolved, mobilized, and reprecipitated as chert masses. Some cherts do have a biogenic origin - for example, radiolarian cherts (rich in radiolarian microfossils) or spicular cherts (rich in siliceous sponge spicules).
The most famous flint deposit in Ohio is Flint Ridge, in Licking County. At this locality, the Middle Pennsylvanian-aged Vanport Flint is exposed in several places. The geologic literature on the Vanport Flint is relatively sparse, with inaccurate, incomplete descriptions and characterizations. For example, the literature describes the Vanport as a sheet of flint at Flint Ridge - it's actually a meganodule horizon. Other descriptions refer to the chert as the remains of siliceous sponges. In reality, siliceous sponge spicules are quite scarce in Vanport samples.
Two graduate student projects during the 2000s, conducted at two different universities, had very different conclusions & interpretations about the origin of the Vanport Flint. A 2003 study concluded that chert at Flint Ridge is biogenic in origin. A 2006 study concluded that the chert is chemical in origin.
Modern flint knappers value the Vanport Flint for being multicolored and high-quality (= very few impurities). With artificial heating, the flint is more easily knapped into arrowheads, spear points, and other objects. Prehistoric American Indians quarried the Vanport Flint at many specific sites on Flint Ridge. Old flint pits can be seen in Flint Ridge State Park. Many authentic artifacts found in Ohio (arrowheads & spearpoints - "projectile points") and elsewhere are composed of Vanport Flint.
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Info. from park signage:
FLINT RIDGE
For more than 10,000 years, Flint Ridge was one of the most important flint quarries in eastern North America. The flint formed at the bottom of a shallow ocean 300 million years ago. The softer rocks surrounding the flint have washed away, leaving the hard flint exposed near the surface. Prehistoric people came here to quarry the flint, which they crafted into a variety of stone tools. Hundreds of quarry pits and workshops are scattered for miles along this ridge. The beautiful rainbow-colored flint was especially prized by the Hopewell culture that built the nearby Newark Earthworks. Artifacts crafted from Flint Ridge flint may be found throughout eastern North America. In more recent times, local industries quarried the flint for use as grindstones.
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FLINT RIDGE
Flint Ridge is a chain of long, narrow hills extending from a few miles east of Newark almost to Zanesville, a distance of more than twenty miles. The surface of these hills is underlaid with an irregular layer of flint, which may be only a few inches or several feet in thickness and varies greatly in color and texture. In many places along this ridge, the soil has been eroded, revealing the underlying flint. You are standing at one of these outcroppings.
Flint is formed by a geologic process whereby the softer limestones and shales are replaced with much harder silica. Due to its high quartz content, flint polishes beautifully and exceptional pieces of jewelry can be made from it. The 106th General Assembly designated flint as Ohio's offical gem stone in 1965 because of its occurrence in several parts of Ohio, particularly Flint Ridge, and because of its importance as a semi-precious gem stone.
Flint is both hard and brittle and thus can be broken into pieces that have razor sharp edges. For this reason, Indians as long as 9000 years ago traveled to this ridge to secure the rock for making projectile points, knives, and scrapers. The area is now covered with hundreds of shallow pits from which flint has been quarries through the ages; several are visible along the trails. The prehistoric Indians broke off chunks of flint with stone mauls and pried them out of the pits with wooden poles. They broke the chunks into usable pieces with hammerstones and then proceeded to chip the flint for various purposes.
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FLINT RIDGE
The history of American Indians in Licking County goes back 14,000 years, and countless generations of native people spent full and varied lives in this area. Probably the best known are those whom archaeologists identify as the Hopewell, who left their imprint in the form of monumental earthworks, including the Newark Earthworks located just 11 miles from here.
Flint - specifically, Vanport or Flint Ridge flint - contributed significantly to this rich human history. As you stand here today at Flint Ridge Ancient Quarries & Nature Preserve, you're standing a few feet above a layer of flint 10-12 feet thick that stretches for 8 miles from east to west and for 3 miles from north to south. This flint deposit is so large that it actually shapes the landscape of Flint Ridge. First, it influences how and where trees grown and fall. Second, 14,000 years' worth of quarrying by the people who originally lived here changed the area's ecology.
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THIS QUARTER-MILE TRAIL SHARES THE STORY OF FLINT RIDGE
FLINT: "OHIO'S GEMSTONES", BUT WHY?
Vanport flint formed at the bottom of an ocean millions of years ago, and its unique properties made it a valuable source of material for crafting tools for ancient American Indians and early European settlers. Today, Vanport flint, with its rich and varied colors, is prized as Ohio's state gemstone.
TECHNOLOGY: MINING AND CRAFTING FLINT
The quarries and workshops at Flint Ridge are the traces of Ohio's first industry. The flint was dug from the ground and shaped into many kinds of tools.
THE PEOPLE OF THE RIDGE
Studying flint tools found in this area - how they were made and how they were used - provides insight into the American Indian people who lived in central Ohio prior to European contact.
NATURAL HISTORY: FOR EVERYTHING THERE IS A SEASON
The ancient flint quarries have becom vernal pools (temporary wetlands) that are now home to a variety of plants and animals. In addition, the presence of the flint layer just a few feet underneath the soil greatly influences the ways that trees in the area grow.
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OHIO'S GEMSTONE
VANPORT FLINT
The flint deposits at Flint Ridge are found in rocks of the geologic era known as the Pennsylvanian Period (299-320 million years ago). These deposits are the largest and purest occurrence of flint in the state. Technically called "Vanport Flint", Flint Ridge flint occurs in layers from 10 to 12 feet thick at this site. Vanport flint is particularly notable for its array of colors. Flint ranges in color from white to black, but is usually light gray to milky white and often mottled with patches and streaks. Other colors, however, such as bright red, yellow, green, and blue make Vanport flint unique. It can be so colorful that it's commonly referred to as Ohio's "rainbow" flint. The unusual beauty and historical importance of Flint Ridge flint earned it the title of Ohio's official gemstone in 1965.
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WHAT IS FLINT?
Flint is a sedimentary rock - it formed from sediment, material that settled millions of years ago to the bottom of the seas that covered what is now Ohio. Flint is a type of the common mineral quartz. It's one of the "microcrystalline" forms of quartz, meaning that its crystals are so small they can't be seen without magnification. The crystals are also tightly locked together, which gives flint its even consistency and hardness. These and other properties of flint make it an ideal material for creating sharp, durable tools.
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PEOPLE AT FLINT RIDGE THROUGH TIME
During the Middle Woodland Period (2,000 to 1,500 years ago), Ohio's American Indian culture began to quarry Flint Ridge flint on a more industrial scale. They still used the flint to make the tools needed for the tasks of daily living, but now they began to create specialty items, such as bladelet cores and teardrop-shaped knives. These were signature artifacts of the Hopewell culture (1-450 A.D.), and Hopewell people used these beautiful objects, as burial offerings, ceremonial gifts, and trade items for distribution from special places such as the Newark Earthworks.
After the decline of the Hopwell culture, later residents focused on using tool materials closer to their homes, and the use of Flint Ridge flint fell sharply. When Europeans introduced their trade goods to American Indians in the 1700s, Flint Ridge was all but abandoned. For a brief period in the 1800s to the 1920s, however, European Americans quarried Flint Ridge flint to make millstones and sandpaper.
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PEOPLE AND TECHNOLOGY
MINING AND CRAFTING FLINT
At Flint Ridge, ancient American Indians quarried the flint from pits they laboriously dug by hand into the bedrock. Many of these pits are still visible along the park trails. Once the flint was exposed, it was struck with hammer stones to break it into large chunks, which where then pried out of the surrounding rock with wooden poles.
Favorable pieces of flint were carried off to be knapped - expertly chipped and worked into tools. When flint is struck, it breaks into chunks withe edges as sharp as glass, and a skilled flint worker, or "knapper", can shape raw flint into precisely formed tools such as spear points, knives, scrapers, and drills. Ancient flint workers sometims used fire to heat the flint, which made it easier to knap. Heating flint also made its colors more vibrant.
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PEOPLE AT FLINT RIDGE THROUGH TIME
From the Paleoindian Period of North American history, which began around 14,000 years ago, through the Early Woodland Period, which ended about 2,000 years ago, ancient American Indians came to Flint Rigde when they needed flint to make new tools to replace those that were worn or broken. These early Americans probably came to the quarries at the same time each year, and their gatherings were not only an opportunity to obtain the needed flint, but also to meet friends and relatives they hadn't seen for many months.
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FOR EVERYTHING THERE IS A SEASON
The extensive flint deposits at Flint Ridge and the quarrying by early residents influenced the local ecosystem, including how nonhuman inhabitants thrive here and how trees grow in the area. Mining activities at Flint Ridge ceased hundreds of years ago, but the flint pits dug by ancient Americans remained.
The ancient flint quarries have become vernal pools (temporary wetlands) that are now home to a variety of plants and animals. The flint layer just a few feet beneath the soil hinders drainage, which influences the species of trees living here.
At Flint Ridge, the vernal pools are critical breeding grounds for 10 species of salamander. Several native species are unusual for the area, including the four-toed salamander, which is a "Species of Concern" in Ohio. Thriving and diverse native amphibian populations, such as those found at Flint Ridge, indicate that an ecosystem is healthy.
In addition to numerous animals, this seasonal forested wetland supports several kinds of trees. American beech trees prefer wet areas, and you can see a number of them neaby. Look for their smooth, gray "elephant leg" tunks and cigar-shaped buds. Other species that thrive in this ecosystem include oak, maple, hickory, sycamore, dogwood, redbud, hop hornbeam, cherry, elm, and sweetgum.
The trees' lives may be shortened because the flint underneath the soil blocks downward root growth, making the trees less stable.
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Stratigraphy: Vanport Flint, Allegheny Group, upper Middle Pennsylvanian
Locality: prehistoric flint pit, Flint Ridge State Park ("Flint Ridge State Memorial"; "Flint Ridge Ancient Quarries & Nature Preserve"), southeastern side of the Flint Ridge Road-Brownsville Road intersection, southeastern Licking County, east-central Ohio, USA (vicinity of 39° 59' 15.01" North latitude, 82° 15’ 44.39" West longitude)
In 2009 I worked on a portfolio of photographs for my friend Raj. He needed an actor portfolio and this is a photo from that set.
Mickey Leland research associate Diana Alvarado working in the lab with mentor Biswanath Dutta. Diana is working on the Reaction Engineering Team at NETL studying Synthesis and Characterization of high-energy-surface structures/facets for alkane dehydrogenation reactions. In this research, Diana will learn how to conduct database searching and how to use NETL supercomputer Joule 2.0 to perform density functional theory (DFT) calculations and lattice phonon dynamics simulation with existing software packages (VASP, PhonoPy, etc.). This project is directly related to our research tasks of the on-going NETL Carbon Capture FWP on developing CO2 capture & utilization technologies for fighting global warming.
Hands-On Nanofabrication Workshop for Educators - Pennsylvania State University, State College, PA
June 23-25, 2008
This photo set is taken by Ed Bujak (me) on Tuesday, June 24, 2008 with a
Nikon Coolpix S550 digital camera.
Photos with a yellow tint are the photolithography lab.