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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
A shot of one of the larger Buddy Icons, provided by Spleeney.
Dave, Prank Sky Media, Hackney, London
Google's logo is a bar code today (to celebrate the invention of the bar code). I scanned it with my phone to see what it meant (blogged here).
A pair of new-to-WNYP's GP15-1s were heading for Olean with interchange received from the Buffalo and Pittsburgh at Salamanca.
If the Alcos had to get replaced, I guess these are suitable.
Hand operated coder is very compact and a light weight coding machine. This coder is widely used in the industry as it is low cost, maintenance free. A specially designed cartridge gives very good inking capacity and no need to remove out for re inking, since print area is 33mmX63mm we can accommodate all the statutory information and logo (if required) on a verity of packaging surfaces and components. - www.atcomaart.com/pd/67506651567054516655/batch-coding-sy...
The Girls Can Code! coding camp focused on teaching vulnerable girls from the Nabukuyu area and from Choma about coding, circuitry, electronics, and robotics, with a broader aim of increasing their self-esteem and leadership abilities and expanding their sense of what is possible for their futures. April 2019.
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
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
KPL Code Camp: Teens work together to solve problems while learning basic computer programming skills, www.kpl.gov
Anime: Code Geass
Character(s): Lelouch and C.C.
Cosplayer(s): Koholint Loire and Iza Nishino
Photo by: Majin Buchoy
Two TPD Cars meet up in a parking lot in front of my apartment, moments later a priority one call is dispatched and they both leave code 3 "Lights and Sirens"
I was only able to get a good shot of the white car.
Working on a small script in Ruby. Scans my comp for music to make a HTML music catalog. The above do iterator would recursively traverses the file system and check for mp3 files. Use Mp3Info to extract title, artist and album info. Now I need to generate google charts, extract info from AWS + wikipedia + freebase + MusicBrainz. I think the end output will look decent.
CODE-Vが２人の体制でリリースする最後のシングル「Dancin’ Circle」を11月25日にリリースした。今回のインタビューは、ウシク、テフンが振り返る「ベスト・パフォーマンス」や「自分の声」についてなど、彼らの内側に一歩近づくディープな内容。この記事のタイトル「ふたりの旅で宝石を見つけた！」も彼らが決めた。
◆11月25日発売の新曲「Dancin’ Circle」は、ダンス映像をかなり先行して公開しましたよね。通常ミュージックビデオを公開して、音源をリリースしてから最後にダンス映像を出すパターンが多いと思いますが。
ウシク：作戦でした（笑）。ミュージックビデオ（以下MV）...
jp.imkpop.com/%e3%80%90%e6%92%ae%e3%82%8a%e4%b8%8b%e3%82%...
QR Code on patient information card given to newly diagnosed Atrial Fibrillation patients. Visit StopAfib.org for more info on Atrial Fibrillation. Visit qrmedia.us/qr-codes-help-atrial-fibrillation-patients/ to learn more about the QR Code.