View allAll Photos Tagged codes'
Stemonitis flavogenita E.Jahn
?
Slo.: ?
Dat.: Aug. 11. 2014
Lat.: 46.36119 Long.: 13.70107
Code: Bot_823/2014_DSC2764
Habitat: old partly overgrown pasture, near mixed wood edge, moderately southeast inclined foot of a mountain; open, dry, sunny place; shallow, skeletal, calcareous ground, exposed to direct rain, average precipitations ~ 3.000 mm/year, average temperature 7-9 deg C, elevation 630 m (2.070 feet), alpine phytogeographical region.
Substratum: north side of a stump of Picea abies (on decorticated part) cut down three years ago.
Place: Lower Trenta valley, between villages Soča and Trenta, upper part of 'Na melu' place, East Julian Alps, Posočje, Slovenia EC
Comment: Highly distinctive traits of Stemonitis flavogenita are typically zig-zag bent columella with a kind of plate at the end just before the end of sporangia (Ref.:1). It is not gradually tapering toward the end of sporocarp as with other species of genus Stemonitis. It is also distinguished by the presence of membranous expansions in the capillitium. Also agreement of macroscopic properties fit well to literature, so I hope the determination is correct. This observation may be interesting since this species is listed neither in Boletus Informaticus data base, Mycotheca and lichen herbarium (LJU-Li) of Slovenian Forestry Institute nor in official Slovenian fungi checklist.
Sporocarp color rusty, oac719; spores on mass chocolate brown, oac635. Stalks 2.5 to 3 mm long, total length of sporangia 9 mm, all of them were fairly the same length, very closely tufted, their tips blunt. The whole clump had 14 mm in diameter.
Spores finely warted, globose. Dimensions: 8,4 [8,8 ; 9] 9,5 x 8,2 [8,6 ; 8,7] 9,1 microns; Q = 1 [1,0] 1,1; N = 32; C = 95%; Me = 8,9 x 8,7 microns; Qe = 1. Olympus CH20, NEA 100x/1.25, magnification 1.000 x, oil (spores), NEA 10x/0.25, magnification 100x (all other pictures); in water. AmScope MA500 digital camera.
Ref.:
(1) B. Ing, The Myxomycetes of Britain and Ireland,The Richmond Publ. Co.Ltd, (1999), p 199.
(2) S.L.Stephenson and H.Stempen, Myxomycetes, Timber Press Inc.(2000), p 153.
(3) www.discoverlife.org/mp/20q?search=Stemonitis+flavogenita
(4) www.myxomycetes.wolf-5.cyberdusk.pl/index.php?wyb=gal&...
(6) www.myxomycetes.net/index.php
(7) myxo.be/pdf/Stemonitis%20flavogenita%20Stemonitopsis%20pe...
(8) www.bookiejar.com/Content/Books/7ccbe2a1-12a9-41fa-a3ff-0... 7-9
My first output from 'Sound Profiles" project, and my first visualization of audio samples. This graph shows the overlay of several short samples. I still have a lot to learn, but am very much enjoying this research and coding.
I had the good fortune to be in Berlin, where our daughter lives, on German Mother's Day. As a treat I was taken to a Photography Playground, in an historic warehouse, where Olympus were loaning out their OM-D camera for a day.
Around the warehouse were many wonderful installations on the subject of 'Space and Art' quite a few of which featured light in one way or another.
At the end of our day we kept our SD cards to do with as we pleased.
At the cost of this camera I don't think they have sold it to me but it was great fun putting it through its paces.
Thanks Claire and Adam, it was a lovely day. ;o)
Scan codes randomly lit.
Royal Thai Air Force
General Dynamics F-16 Fighting Falcon
Version: F-16A Block 15AJ OCU
Registration: Kh19-14/37 (บ.ข.๑๙-๑๔/๓๗)
Code: 10314 / 91063
Aircraft No. 91-0063
LM Aero T/V: 2J-10
Version: F-16B Block 15Z OCU
Registration: Kh19K-*/48 (บ.ข.๑๙ก-*/๔๘)
Code: 10319 / 87401
Aircraft No. 87-0401
LM Aero T/V: 28-1
(**ex.885, Republic of Singapore Air Force**)
Location: Nakhon Ratchasima - Korat Air Force Base (VTUN)
Date: 10 January 2015
KPL Code Camp: Teens work together to solve problems while learning basic computer programming skills, www.kpl.gov
虹次 by 伊藤；雪比奈 by 貫井；八王子 by 城戸芽衣凛； photo&edit by 小神（godling）
lighting settings: www.flickr.com/photos/godling/8326382780/in/photostream
GDS colleagues participated in 3 introductory sessions to coding at GDS. Students were from the Women's and BAME network. Volunteer coaches were from across the organisation, and included frontend developers, backend developers, and site reliability engineers.
A shot of one of the larger Buddy Icons, provided by Spleeney.
Dave, Prank Sky Media, Hackney, London
KPL Code Camp: Teens work together to solve problems while learning basic computer programming skills, www.kpl.gov
Philip works hard on our new application.
ZURB is a close-knit team of interaction designers and strategists that help companies design better (www.zurb.com).
KPL Code Camp: Teens work together to solve problems while learning basic computer programming skills, www.kpl.gov
Amazon.cn is in its campus recruiting phase. We had some of the students visit us yesterday and we gave them a couple of books as gifts. I was pleased to see one was the Chinese translation of Coders at Work by Peter Seibel. I worked with Peter at WebLogic way back in the day, small world all over.
Macroscyphus macropus, (Pers.) C.F. Gray, syn.: Helvella macropus
Felt Saddle, DE: Spindelsporige Lorchel
Slo.: visoki loputar
Asci at magnification 100x.
Dat.: Oct. 11. 2014
Lat.: 46.40132 Long.: 13.70322
Code: Bot_847/2014_DSC4724
Habitat: mountain pasture, flat terrain, overgrown old river deposits terrace covered by mosses and grasses, near wood edge, calcareous skeletal ground, full sun, exposed to direct rain, average precipitations about 3.000 mm/year, average temperature 5-7 deg C, elevation 975 m (3.200 feet), alpine phytogeographical region.
Substratum: shallow skeletal soil, among grass and mosses near a small Picea abies.
Place: Zapodn, near a mountain trail along right bank of (dry) river bed of Soča, on the most upstream grassland before the trail enters forests, East Julian Alps, Posočje, Slovenia EC
Comments: This find is an example of a 'strange' looking mushroom, which has neither gills nor pores but smooth spore bearing hymenium on the upper side of its 'hut'. It is an ascomycete producing spores within elongated sacks (asci) and not on basidia. There are a few other species known looking very similarly (genus Cyathipodia), but they are rare. Without microscopy it is hard, if at all possible, to distinguish among them. Macroscyphus macropus is the most common among them in Slovenia and can be distinguished from others by its spores, which have one large centrally located oil drop and two or more smaller drops on each side. It is probably a quite common mushroom, but it is very easily overlooked since it is small, usually grows solitary and is of uniformly gray-brown color, which excellently blends with the patchwork of late autumn ground covered by half faded grasses, fallen leaves, mosses and other ground debris.
Growing solitary. 'Pileus' diameter 3 cm, stipe 4.5 cm tall and of 4.5 mm diameter; smell mildly on earth, taste almost none; SP abundant, whitish with ochre tint, oac850.
Spores smooth, with one large oil drop and two or more small ones. Dimensions 18.7 [20.7 ; 21.5] 23.5 x 11.7 [12.8 ; 13.2] 14.3 microns; Q = 1.4 [1.6 ; 1.7] 1.9; N = 38; C = 95%; Me = 21.1 x 13 microns; Qe = 1.6. Asci dimensions: 226.8 [244.5 ; 256.8] 274.4 x 14.4 [15.9 ; 16.9] 18.3 microns; Q = 13.2 [14.8 ; 15.9] 17.5; N = 15; C = 95%: Me = 250.6 x 16.4 microns; Qe = 15.3. Projecting excipulum hyphae (hairs) of sterile (lower) surface of sporocarp with many septa. Cell dimensions: 13.7 [20.5 ; 23.6] 30.4 x 9 [11.8 ; 13.1] 15.9 microns; Q = 1.1 [1.7 ; 1.9] 2.5; N = 30; C = 95%; Me = 22 x 12.5 microns; Qe = 1.8. Olympus CH20, NEA 40x/0.65, magnification 400x (spores, asci, hairs, trama), NEA 10x/0.25, magnification 100x (asci collectively), in water, Congo red.AmScope MA500 digital camera.
Herbarium: Mycotheca and lichen herbarium (LJU-Li) of Slovenian Forestry Institute, Večna pot 2, Ljubljana, Index Herbariorum LJF
Ref.:
(1) www.mushroomexpert.com/helvella_macropus.html
(2) M. Bon, Parey's Buch der Pilze, Kosmos (2005), p 328.
(3) D. Arora, Mushrooms Demystified, Ten Speed Press, Berkeley (1986), p 810.
(4) R.M. Daehncke, 1200 Pilze in Farbfotos, AT Verlag (2009), p 1113.
(5) J. Breitenbach, F. Kraenzlin, Eds., Fungi of Switzerland, Vol.1. Verlag Mykologia (1984), p 58.
03.11.2012
Code Geass Cosplay Photoshoot with xShadow-Lightx
Location: Cal Poly Pomona, Pomona, California
Photographer: Kimihiro-kun
Characters:
- xShadow-Lightx as Suzaku Kururugi
zkm.de/en/event/2022/01/on-the-fly-live-coding-hacklab
The Hacklab will connect live coding with areas ranging from machine learning to spatial sound to programming visuals. There will also be a special on the format of Algorave. Each of these areas will be supervised by international mentors: Alexandra Cárdenas, Anna Xambó Sedó, Antonio Roberts, Iván Paz, Lina Bautista and Marije Baalman.
On the occasion of and during the two-day Hacklab, live coding masterclasses (with Shelly Knotts, Olivia Jack and Kıvanç Tatar) and workshops for beginners (children, teenagers and adults) will be offered. The results of the workshops will be presented in evening presentations and »from scratch sessions«.
The event will kick off on Friday, January 28 with several live coding performances that offer a wide range of different aesthetics and approaches to the audiovisual performance art. We are very pleased to present CodeKlavier, Luka Prinčič and Blaz Pavlica as well as our Artists in Residence Malitzin Cortés & Iván Abreu, Gaia Leandra and Kıvanç Tatar via livestream.
The Hacklab and the live coding performances are part of the project »on-the-fly« and co-funded by the European Union's »Creative Europe« program. With »on-the-fly«, ZKM, Hangar Barcelona, Creative Coding Utrecht and Ljudmila Art + Science Laboratory have made it their goal to foster the European live coding scene.
The coupon code is currently available for use!
It will be available tomorrow after I've added the postcards to my Etsy shop. The coupon can be used as many times as you wish and will expire December 5th 2015.
To find my shop you can follow this link: www.etsy.com/shop/CinnamonPancakes
Codes, everything in our lives is marked by codes - barcodes, colour codes, cipher codes. That is why every one of us is ontouchable, we are all lifted from anonymity. And still there is too little transparency in society: terrorism, dodging taxes, etcetera.
Greti Raffeiner, Codes, 2010
Code Impressions: Workshop Processing/Sérigraphie. École supérieure d'art d'Aix-en-Provence. Atelier Hypermédia + Atelier Sérigraphie. 13-17 février 2012. Julien Gachadoat & Marc Webster with Douglas Edric Stanley, Fabien Bodet, Mathilde Dufour, Adeline Harmide, Gabriel Gutierrez, Marie Liebes, Maude Vien, Jacques Hémery.
The Paradise Institute installed at Emily Carr Concourse Gallery. Docents light, headphones and chair.
The Paradise Institute
Janet Cardiff and / et Georges Bures Miller
Organized by the National Gallery of Canada
organisée par le Musée des beaux arts du Canada
In a small replica of a full-sized movie theatre balcony with 16 red velvet-covered seats, viewers put on headphones to watch and listen to a film projected in a miniature movie theatre in front of them. Surprisingly they hear other more intimate sounds and stories. A real and a fictional layer of sound are intertwined, creating a strange sensation of reality for the viewer.
Movies are, of course, The Paradise Institute referred to in the title. Looking over the full-sized balcony into a hallucinatory space of a miniature movie theatre below, a visitor’s senses are further misled by putting on headphones that create surrounding sounds which are equally deceptive between the film being shown and noises being heard. The projected movie is about a man who is a prisoner in a hospital with its own soundtrack faithful to the images. Simultaneously, another soundtrack, more intimate, is confidentially whispered or heard nearby with a surprising fidelity in the viewer’s ears. This other soundtrack seems to directly emerge from other members of the audience present with coughs, secrets, cellphones and other sounds of ordinary life interrupting the flow of the movie’s audio effects. The impression is disturbing as the realities created by the sounds close by are more real than the fiction of the movie, although both are illusions, with their narratives culminating in an eerie conclusion. How the brain tricks itself into believing through image and sound is one of the inescapable implications of the experience of The Paradise Institute.
Dans cette réplique à petite échelle d’un balcon de salle de cinéma, les participants sont invités à s’asseoir dans l’un des seize sièges recouverts de velours rouge et à mettre des écouteurs pour assister à la représentation d’un film projeté sur l’écran miniature devant eux. À leur grande surprise, ils entendront également des sons et des récits intimes. Ces couches de son réelles et fictives sont inextricablement liées et donnent au spectateur une impression étrange de réalité.
Les films sont l’essence même de l’installation The Paradise Institute. En regardant du haut d’un balcon le spectacle hallucinant qui se déroule sur l’écran de cinéma miniature au bas, le spectateur est davantage induit en erreur lorsqu’il met des écouteurs pour entendre des sons qui ne correspondent pas aux images et aux bruits du film projeté. Le film, qui raconte l’histoire d’un homme emprisonné dans un hôpital, possède sa propre piste sonore, adaptée aux images. Simultanément, une autre piste sonore, plus intime, presque un chuchotement, s’impose avec une étonnante fidélité dans les oreilles du spectateur. Cette nouvelle piste sonore semble provenir des autres spectateurs présents qui toussent, livrent des récits intimes, parlent au cellulaire et produisent d’autres bruits réels qui interrompent les effets audio du film. L’impression est troublante car la réalité créée par les sons environnants est beaucoup plus réelle que la fiction du film, même si les deux ne sont qu’illusions, et que les narrations se terminent par une conclusion sinistre. Il est certain que le spectateur s’engagera dans une réflexion sur la façon dont le cerveau se conditionne à croire ce qu’il voit et entend après avoir vécu cette expérience.
Janet Cardiff and / et Georges Bures Miller
CANADA
Janet Cardiff and Georges Bures Miller make audio-based installations and walking pieces that use the narrative and technical language of film noir to create lush, suspenseful sound and video works. The duo represented Canada at the Venice Biennial in 2001. Their work has been shown at the PS1 Contemporary
Art Center of the Museum of Modern Art (New York), The Musée d’Art Contemporain (Montreal), and the Whitechapel Art Gallery (London), amongst others.
Janet Cardiff et Georges Bures Miller conçoivent des installations audio et des marches sonores qui font appel au langage narratif et technique du film noir pour créer des œuvres audio et vidéo riches et pleines de suspense. Ces deux artistes ont représenté le Canada à la Biennale de Venise en 2001. Leurs œuvres ont fait l’objet d’expositions au PS1 Contemporary Art Center du Museum of Modern Art (New York), au Musée d’art contemporain (Montréal)
et à la Whitechapel Art Gallery (Londres),
pour ne citer que ceux-là.
Photo Credits
Mention de sources :
Janet Cardiff and / et George Bures Miller
The Paradise Institute 2001
National Gallery of Canada, Ottawa
Anonymous gift, 2002 / Musée des
beaux-arts du Canada, Ottawa,
cadeau anonyme, 2002