View allAll Photos Tagged creation
Entrelacs
annefloredanse.com/creations-collaborations/alt-shift-201...
Sur une aire de jeu à géométrie variable, Entrelacs tisse son espace performatif d’une fine toile évolutive. Des fils élastiques entrelacent le mobilier urbain, influencent la trajectoire des danseurs et enveloppent au passage quelques observateurs volontaires. Faisant écho à cette architecture mouvante, un violoniste entame un dialogue avec les corps dansants.
On a playground of variable geometry, Entrelacs weaves its performative space with an evolutionary fine canvas. Elastic lines interlace the natural architecture and the urban furniture around the site. This soft web influences the dancers trajectory and envelopes some volunteer observers in their journey. Reflecting this moving architecture, a violinist began a dialogue with dancing bodies.
Co-chorégraphes | Liliane Moussa & Anne-Flore de Rochambeau
Interprétation | Marine Rixhon, Liliane Moussa ou Alexia Martel, Anne-Flore de Rochambeau
Violoniste | Guido Del Fabbro ou Lana Tomlin
One of the first windows I ever releaded back in 1997.
The nave clerestories are glazed with a sequence of angelic figures (alternatingly robed in blue or red, an effective use of a limited palette) bearing symbolic elements of the Benedicite, the famous hymn in praise of Creation from the Book of Daniel, calling upon all the works of the Lord to give praise to Him. The windows were created by Hardman's (to the designs of John Hardman Powell) and installed in 1897 to commemorate Queen Victoria's jubilee year.
After I left college in 1996 I went to work for a stained glass studio in Redditch (Norgrove Studios) which was undertaking the restoration and releading of this entire scheme of clerestorey windows. It was thus the first major restoration project of stained glass that I worked on and I can still recall getting to know some of these individual angel figures quite intimately while dismantling and releading them in 1997-98.
Frustratingly no easy way could be found at the beginning of the project to remove the thick disfiguring coating of overpaint (applied as a darkening agent during wartime to subdue the penetration of light) thus it was suffered to remain for the remainder of the project, much to my regret. I hope it may yet be removed to allow the full beauty of these (and other) windows to be appreciated.
St Mary's is the parish church of the town of Kidderminster and a grand affair it is too, still mostly an early 16th century building of impressive proportions, its extraordinary length in particular. The tower is a major landmark on the northern edge of the town centre, though sadly the construction of the modern ring-road effectively cuts the church off completely from the rest of the town and it can only be reached via a rather uninviting subway beneath the dual-carriageway, thus it doesn't get the footfall it deserves.
The church is usually approached from the south and it is this aspect that makes the biggest impression, most noticeably for its handsome south-west tower and the richly glazed clerestories of the nave (which appears to be composed more of glass than wall), all fine examples of the late medieval Perpendicular style. The length of the building is remarkable as beyond the nave is not only a decent sized chancel but a further chapel to the east as well (an early 16th century chantry chapel, formerly detached but now more integrated and in use as a parish room). There has however been much restoration owing to the fragility of the grey and red sandstones used in the construction, and thus much of the external stonework was renewed in the Victorian period (when the south chapel and vestries connecting to the chantry chapel were added). On the north side of the chancel is a handsome memorial chapel added in the early decades of the 20th century.
Entry is via the porch in the base of the tower at the south-west corner, where the visitor is greeted by a vast interior space whose lighting is somewhat subdued (especially the chancel). the nave is a classic example of the Perpendicular style and of considerable width, culminating above in the bright clerestories and a flat wooden ceiling. There is much of interest to discover here, particularly the monuments which date from the 15th-17th centuries and include several fine tombs, the earliest being a graceful canopied tomb to a noblewoman in the south aisle and a large brass on the north side. The chancel has three more large tombs with recumbent effiges to members of the Cokesey and Blount families, the latter being of post-Reformation date.
Every window of the church is filled with stained glass, mostly of the Victorian period but much of it rather good. The most handsome window is the early 20th century window by Powell's over the main entrance and there is more glass by the same studio in the nave aisles whilst the nave clerestorey has an attractive sequence of angels holding symbols of the Benedicite by Hardmans' installed at the very end of the 19th century. My first encounter with this church was in the late 1990s when working as part of the team that releaded the entire scheme of windows in the nave clerestorey, thus I got to know these angels very well. Sadly however the glass throughout this church suffers from a disfiguring layer of varnish or shellac (applied as 'blackout' at the beginning of World War II and a substance known as 'speltek' according to someone I spoke to at the church). This was smeared over most windows with a rag (the impressions of which were apparent when we worked on the clerestorey windows) and is not easily removed, but small areas where it has detached show how much brightness has been lost while the windows suffocate under this darkening layer. I hope some day the right solvent can be found to remove this stuff with minimal risk to the glass.
Kidderminster's grand parish church rewards a visit and deserves more visitors than it currently receives. It isn't always open but in recent years prior to the pandemic was generally open for a few hours on most days during the summer months (though best to check times before planning a trip). Don't be put off by the seemingly impenetrable barrier of the ringroad, St Mary's is worth seeking out and the nice people who steward their church would I'm sure like to be able to welcome more people to this fine building.
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
Delegates meet to discuss Small and Medium Economies and how new employment prospects can be generated within them. Coordinated by J. Howard at Palais des Nations 2015-06-02.
FR: Commission sur les PME et la création d'emplois aux Palais des Nations pour le 104e Conférence Internationale du Travail, 02-06-2015.
Photo © Marcel Crozet / ILO
More informations at : www.ilo.org
More pictures at : www.ilo.org/dyn/media
Follow the ILO : www.facebook.com/ILO.ORG/
(Credits: Pouteau / Crozet)
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.
In his hand ere the depths of the earth, and the mountain peaks belong to him.
The sea is his, for he made it, and his hands formed the dry land. (BIBLE, Psalm; 95,4,5)
THE HISTORY OF THE DRIVE IN THEATER:
The DRIVE IN THEATER was the creation of Camden, New Jersey, chemical company magnate Richard M. Hollingshead, Jr., whose family owned and operated the R.M. Hollingshead Corporation chemical plant in Camden. In 1932, Hollingshead conducted outdoor theater tests in his driveway at 212 Thomas Avenue in Riverton. After nailing a screen to trees in his backyard, he set a 1928 Kodak projector on the hood of his car and put a radio behind the screen, testing different sound levels with his car windows down and up. Blocks under vehicles in the driveway enabled him to determine the size and spacing of ramps so all automobiles could have a clear view of the screen. Following these experiments, he applied August 6, 1932, for a patent of his invention, and he was given U.S. Patent 1,909,537 on May 16, 1933.
Hollingshead's drive-in opened in New Jersey June 6, 1933, on Admiral Wilson Boulevard at the Airport Circle in Pennsauken, a short distance from Cooper River Park. It offered 400 slots and a 40 by 50 ft (12 by 15 m) screen. He advertised his drive-in theater with the slogan, "The whole family is welcome, regardless of how noisy the children are." The first film shown was the Adolphe Menjou film Wife Beware. The facility only operated three years, but during that time the concept caught on in other states. The April 15, 1934, opening of Shankweiler's Auto Park in Orefield, Pennsylvania, was followed by Galveston's Drive-In Short Reel Theater (July 5, 1934), the Pico Drive-In Theater at Pico and Westwood boulevards in Los Angeles(September 9, 1934) and the Weymouth Drive-In Theatre in Weymouth, Massachusetts (May 6, 1936). In 1937, three more opened in Ohio, Massachusetts and Rhode Island, with another 12 during 1938 and 1939 in California, Florida, Maine, Maryland, Massachusetts, Michigan, New York, Texas and Virginia. Early drive-in theaters had to deal with noise pollution issues. The original Hollingshead drive-in had speakers installed on the tower itself which caused a sound delay affecting patrons at the rear of the drive-in's field. In 1935, the Pico Drive-in Theater attempted to solve this problem by having a row of speakers in front of the cars. In 1941, RCA introduced in-car speakers with individual volume controls which solved the noise pollution issue and provided satisfactory sound to drive-in patrons.
The drive-in's peak popularity came in the late 1950s and early 1960s, particularly in rural areas, with some 4,000 drive-ins spread across the United States. Among its advantages was the fact that a family with a baby could take care of their child while watching a movie, while teenagers with access to autos found drive-ins ideal for dates. Revenue is more limited than regular theaters since showings can only begin at twilight. There were abortive attempts to create suitable conditions for daylight viewing such as large tent structures, but nothing viable was developed.
In the 1950s, the greater privacy afforded to patrons gave drive-ins a reputation as immoral, and they were labeled "passion pits" in the media. During the 1970s, some drive-ins changed from family fare to exploitation films, as a way to offset declining patronage and revenue. Also, during the 1970s, some drive-ins began to show pornographic movies in less family-centered time slots to bring in extra income. This allowed censored materials to be viewed by a wide audience, some for whom viewing was illegal, and it was reliant upon the whims of local ordinances controlling such material. It also required a relatively remote location distant from populated areas such as towns and cities.
Over time, the economics of real estate made the large property areas increasingly expensive for drive-ins to operate successfully. Land became far too valuable for businesses such as drive-ins, which in most cases were summer-only. Widespread adoption of daylight saving time subtracted an hour from outdoor evening viewing time. These changes and the advent of color televisions, VCRs and video rentals led to a sharp decline in the drive-in popularity. Drive-ins were subject to the whim of nature as inclement weather often caused
cancellations. They eventually lapsed into a quasi-novelty status with the remaining handful catering to a generally nostalgic audience, though many drive-ins continue to successfully operate in some areas. By 2013, drive-ins comprised only 1.5 percent of movie screens in the United States. At the industry's height, 25 percent of the nation's movie screens had been in a drive-in. As of 2012, a figure of 368 drive-ins has been published as for how many Drive-Ins remain in use through out the United States.
THIS DRIVE IN THEATER....
opened for business on August 12, 1949. As developed by Courtney Evans, on land owned by Mildred and Albert Steele, the drive-in, in 1949 was quite different than what remains of it today. tod During its first year of operations, two large speakers mounted on opposite sides of the screen broadcast the sound. When conditions were right, it was possible to hear the movie three miles away in the town. When the Steeles' purchased Mr. Evans’ interest in the operation in 1950, the sound system was replaced by in-car speakers.
The original screen was also quite different from the one that still stands today. Transplanted from Camden, New Jersey, it was constructed of fabric and could be raised or lowered on a supporting framework. A well-corroborated story has it, that one night some local boys cut the tethers during a show, sending the screen to the ground just as a plane in the picture went down in flames. This screen was eventually replaced by a rather small but more conventional movie screen, which was succeeded, in 1972, by the steel screen structure that remains today.
While the amenities of public accommodations have changed along with popular expectations, those found along rural roadsides in the 40’s and 50’s were often quite rudimentary by contemporary standards. The facilities featured at this Drive-In Theater during this period were no exception. Until the Roller Rink opened on the premises in 1954, ladies and gentlemen were offered restroom accommodations in outhouses concealed behind a rose trellis. When the adjacent roller rink opened in ‘54, women were offered accommodation inside and the men's outdoor facilities remained until 1968 when separate indoor restrooms were constructed.
During the drive-in’s early years, this states Blue Laws prohibited the exhibition of motion pictures on Sundays. To circumvent these restrictions, the Steeles presented music shows on a stage in front of the screen. Albert’s band, The Blue Hen Ramblers, was a familiar attraction, as was Pollie Peach Tree, a comedy routine between sets, featuring Mildred Steele. Bill Haley performed at the Drive-In, without his Comets, as did Tex Ritter.
In 1966, the Drive-In was leased to a Baltimore-based exhibition circuit for the next 20 years. Disappointed with the results from their initial engagements, R/C Theaters ventured into the burgeoning field of adult entertainment. Though tame by the standards of contemporary features, the adult films of the late 60’s were an instant success at the drive-in. By the mid 80’s, though, even this market had lost its vitality, and as occurred with so many outdoor theaters at the time, and the Drive-In closed its doors in 1986 as audiences migrated to a new generation of indoor theaters and patrons stayed at home choosing movies on cable and video cassette instead.
In 1996, veteran New England drive-in operator Don Brown leased the Drive-In Theater property, renovating and reopening it again and bringing it back to its glory days of mass-appeal drive-in entertainment. But, This would end in November 2008, and the last Movie to screened at this Drive-In was Madagascar 2, this is when the Steeles' heirs opted not to renew the lease in order to put the land on the market.
Much good this did the family as the land, 5 years later still sits Abandoned to this day...
Card made by Shelley Glover using products from Craft Creations Ltd.
SF06Z-399 Super Value Thick White Card Blank.
CDT022P Classic British Motorbikes Die-Cut Toppers.
PKBP900 Pastel Dots Mixed A5+ Printed Background Paper Sheet Pack.
XL642U-02 Tiny Birthday Mix Peel-Off Stickers.
XL703U-03 Narrow Border Peel-Off Stickers.
XL713U-02 Lots Of Dots Peel-Off Stickers.
XL807U-02 Swirls With stars Peel-Off Stickers.
Card made by Charlotte Kearley using products from Craft Creations Ltd.
SF06U-99 Kraft Ribbed Brown Recycled Card Blank.
DCD630 Robin On Railing Die-Cut Découpage.
PKBP912 Bright Xmas Words Mixed A5+ Printed Background Paper Sheet Pack.
CVS01CA5 White Creative Value Smooth Card.
White 3mm Satin Ribbon.
Card made by Shelley Glover using products from Craft Creations Ltd.
SF01Z-399 Trucard Felt Finish White Card Blank.
DCD652 Choirboys Snow Scenes Die-Cut Découpage.
PKBP911 Deep And Dark Mixed A5+ Printed Background Paper Sheet Pack.
XL632U-01 Mixed Border Peel-Off Stickers.
XL713U-01 Lots Of Dots Peel-Off Stickers.
BOW31-05 Red 3mm Satin Bow.
Created with fd's Flickr Toys.
To see more of my work, behind the scenes video sessions and other info about me, please visit my site, sollang.com.
Card made by Jenny Kearley using products from Craft Creations Ltd.
SF06V-70 Creative Value Smooth White Card Blank.
SR111P Christmas Scrolls On Blue/Grey Creative Paper.
GB02A5 Silver Glitter Board.
MIR04CA5 Gunmetal Mirri Card.
ZL175U-42 five Point Star Mixed Glitter Peel-Off Stickers.
ZL792U-82 Curly Star Corner Glitter Peel-Off Stickers.
ZL848U-42 Star Border Glitter Peel-Off Stickers.
LUM01 Lumocolor Pens.
1. Baby Girl and Pink Pacifier, 2. Oh so bubbly, 3. Feline Eyes, 4. Red Beetle and suitcase, 5. Lovely Shoes and Pink socks, 6. Still 26, 7. Short Palm Chicken, 8. Marina Boat, 9. Cactus fruit, 10. Coconut on the sarong, 11. Tough boy with a Blue pacifier, 12. Guardian, 13. Surfer Boys, 14. Colorful Jangadas and Cactus, 15. Sunset and Raindrops, 16. Red Car and a Green Rave, 17. Half Indian Child, 18. Little Red Beetle, 19. Brazilian Boy, 20. Brazilian Child, 21. Smiling Blonde Boy, 22. Beat up Beetle, 23. Pineapples, 24. Cat in a Suitcase, 25. Wheel Reflection, 26. Smiling Boys at the gate, 27. Rastafari, 28. Boy's goofy face, 29. Breeze, 30. At the gate, 31. Still 27, 32. Black Cat Profile, 33. Pause Refreshing, 34. Cat and Sofa, 35. Light Pinkness 1, 36. Beach Shadow
Created with fd's Flickr Toys
Card made by Charlotte Kearley using products from Craft Creations Ltd.
BXC01X-300 White Square Box Card.
BXS01X-250 White Square Springy Inserts.
DCD658 Snow Couple Violin Die-Cut Découpage.
SR398P Snow On Lilac Leaves Creative Paper.
XL632U-01 Mixed Border Peel-Off Stickers.
(further information you can see by clicking on the link at the end of page!)
The anniversaries of the years 2012/2013 - 250 years orphanage foundation and first church.
In the years 1762 and 1763 by the foundation of Maria Theresa and by the
laying of the foundation stone for the first church - what we are talking about here is the predecessor of our present parish church - and its Benedizierung (Benediction) for the development of the Rennweger orphanage decisive strategic measures were taken. In the following lines these significant events will be discussed in more detail, not such a long time ago celebrating the 250th anniversary.
The history here should be summarized only briefly: the impulse to the creation of
Rennweger orphanage emanated from canon and later Auxiliary Bishop Franz Anton
Marxer that during the Holy Week of the Year 1742 while visiting the workhouse in the
Leopoldstadt discovered 20 neglected and sick orphan girls in a remote chamber. Seeking help, he turned to his friend, the manufacturer Johann Michael Kienmayer. This had on a large property complex between Landstraßer Hauptstrasse, Rennweg and today's Oberzellergasse a spinning mill built and he put up the children there. This presented the humble beginning of the later so legendary Rennweger Orphanage. Due to the large inflow of orphans, under the leadership of architect Mathias Gerl until 1745 emerged a house with its facade oriented to Rennweg, which consisted of three wings with two courtyards. In 1743 a small chapel was
built, which was dedicated to the Visitation of Mary. After interim organizational difficulties, the development of the orphanage by the vocation in 1759 of the Jesuit Father Ignaz Parhamer took off in a significant way.
In the years 1762/1763 arose a new situation, as Kienmayer hat to shot down the factory because it was not profitable enough. Now intervened Maria Theresa, for whom the Rennweger orphanage was a big concern. She bought from the manufacturer Kienmayer the at the Landstraße situated factory building plus residential building plus property and and gave it "for all time" the orphanage. Finally she acquired in 1763 also in favor of the orphanage from Kienmayer those tract he had laid out in 1754 for his harness makers. A copy of the deed of donatio
of 16th April 1763 is in the possession of our parish. The conditions for the structural
expansion of the orphanage were thus created. At the same time it was clear that the
small chapel built in 1743 with the ever-increasing number of orphans for
a sophisticated spiritual care of the children would not be sufficient. Therefore, it was the construction of a church (sometimes in literature of a "larger chapel" is spoken) decided.
The foundation stone was laid on 22nd October 1762 by Count Franz Esterhazy as substitute
of the Empress, Auxiliary Bishop Marxer carried out the consecration. As builder acted again Mathias Gerl. Even then the motivating force and the organizational skills of Father Parhamer were noticeable: The construction of the church in the incredible building time of
only six months was completed. On 12th May 1763 - it was celebrated on this day the feast
Ascension of Christ, and it was the eve of the birthday of the Empress - the new
Church was benediziert (dedicated) by abbot Amand of Montserat in honor of the birth of Mary. About the exact nature of this first church due to lack of source material only presumptions are possible. Unfortunately, Father's Parhamer orphanage reports from the years 1762 to 1768 are missing. In the report of 1762 noted Parhamer, the church sure is too "poor and small, but it is benediciret (benedictory)". Furthermore it was reported that the Church possessed a special place, a decent sacristy, a high altar and two side altars, two oratorios and a choir with organ and a triple entrance.
Interesting in this context is the hint of pastor Rieder related to the pictures on the side altars, on the one hand representing the crucified Saviour (this is a gift of the archduke and future emperor Joseph) and on the other hand the painful Mother of God - those works of art created by the Capuchin Father Norbert Baumgartner adorn also the side altars of our today's church. The church was parallel to the Rennweg (the street) facade aligned. The art historian Susanna Haiden, which herself in her thesis dealt in detail with the construction process, with respect to the local placement two theses considers possible: by using the present plans or stitches
of Gütl and Hefele, on the one hand the old church could have reached until the middle of the present church. In this case, only the foundations of the facade and of a nave wall for the new church could have been utilized. However, for more conclusive she considers that the
perpendicular to Rennweg standing part of the old church the layout of today's church nave without side aisles would have formed. In this case, it would have been possible to use all the foundations of the previous building for the new nave and only the lateral galleries
had to be added. This supposition is supported by the fact that in application of this model a significant cost saving would have been achieved. Absolute certainty can but probably only a locating of the lost annual reports yield.
Ultimately, the question arises how this building was financed. Here you come across to name of one of the greatest benefactors of the Rennweger orphanage, namely the Duchess Maria Teresa of Savoy and Piedmont, born Princess of Liechtenstein. Although a confirmation of the foundation nowhere can be found, not even in Liechtenstein's House archive in Vaduz, upon the report of reverend Rieder the correctness of this thesis can be assumed. This is also supported by the fact that the Duchess already on 1st April 1743 to canon Marxer had handed over a sum of 7,500 guilders, so that from it for "everlasting times" six poor children could be maintained. These children had on their clothes the character "Th P" to carry so they could be distinguished from other Stiftlingen (trainees).
With this new building, the conditions for a good spiritual care for the orphans were created and one could assume that the new church for a long time would fulfill its task. Today we know that it should be standing not even five years. Through the by Maria Theresa disposed merger of the orphanage foundation with the foundation of the Baron von Chaos in 1767, the construction of a new and larger church became necessary. The construction of this second church - the question is about our present parish church - was started on 29th February 1768. The inauguration with the legendary Premiere of the Waisenhausmesse (Missa solemnis in C minor) by W. A. Mozart was held on 7th December 1768 and this Anniversary will certainly be celebrated proportionately in 2018.
Mag Walter Reutterer
Literature:
Georg Rieder, Ignaz Franz Anton Parhamer's and Marx's life and work (Vienna 1873)
Susanna Haiden, The "Orphanage Church" at Rennweg. Thesis for obtaining the
Master's degree in philosophy from the discipline of study History of art submitted at the University of Vienna (Vienna 2006)
pfarrerennweg.at/gruppen/files/2013/05/Jubil%C3%A4en2012-...
For more choices you may check our website; www.creditreportcamp.com/
Some other resources can be found here;
Silver Folded Plane Jewelry giveaway from Etsy shop FoldIT Creations on the blog through June 25, 2016: www.allthingspaper.net/2016/06/origami-themed-jewelry-fro... and/or Instagram: www.instagram.com/p/BG4I_sDyN9S/
Today I stumbled upon Inkscape, with a few files I had happened to save (I generally didn't save decals on inkscape as I knew I'd upload them), and thought I would share these unreleased creations!
There was a time when I decieded to create a set of different coloured r2 droids but I guess I became dissinterested and the design was scraped.
The middle picture is a set of torn purple pants meant for a minifig of the hulk. This was during a time when we only had a bigfig of the hulk and I guess I was interested in making one to minifigure scale just before the lego shop exclusive fig was announced :D
The last decal was based on the sinestro of the lego batman 2 video game. This was a very early creation when I was still getting to grips with using the program and I must have realised after finishing it how awful it looks as I never posted it :D
Card made by Charlotte Kearley using products from Craft Creations Ltd.
SF01U-30 Creative Smooth White Card Blank.
DCD652 Choirboy Snowscene Die-Cut Découpage.
PKBP907 Frost And Snow A5+ Printed Background Paper Sheet Pack.
PKBP911 Deep And Dark A5+ Printed Background Paper Sheet Pack.
PK726 Christmas Cheer 6" x 6" Creative Paper Pack.
SU01A5 Silver Sublime Glitter Sheet Plastic.
White 10mm Satin Ribbon.
White Glitter Glue.
Card made by Jenny Kearley using products from Craft Creations Ltd.
SF13V-189 Rustic Flecked Brown Card Blank.
PKDCD628 Busy Penguins Découpage Card Kit.
PK727 Christmas Wording Mixed 6" x 6" Creative Paper Pack.
XL697U-08 Snowflakes Small Peel-Off Stickers.
ZL696U-42 Star String Glitter Peel-Off Stickers.
My latest custom-Halloween creations - a pair of minions (Dave and Stuart) made for a sibling pair in Canada.
Made for Creations for Charity 2010.
You can purchase those at Bricklink for $18. All money will be spent on buying sets for underprivileged children during the holidays.
Thank you!
2 pcs available
Original creation here - www.flickr.com/photos/matijagrguric/5107685264/
(en français plus bas)
A collaborative creation opened to all on the theme SynchroniCity is:
an axis, a passage towards other spaces time, toward other levels of consciousness and energy.
aire-ville-spatiale.org/synchronicity
Every participant can modify partially or completely the avatar created by previous participant
Shape
Skin
Clothing
Attachements/build
Pose
You do not know how to modify the avatar ? Without modifying the appearance, you can create a build which will be "attached" to a part of the body (head, trunk, left or right hand, arms, pelvis, legs, feet, etc.)
We will tell you what to do.
You do not know how to make anything? We have all a competence, discuss it.
To participate:
Contact Marc Moana in message private by flickr or SL to ask for the password of the avatar.
Rules:
All the creations will be full permissions (copy, modif, transfer) in the inventory of the avatar, in a folder in the name of the creator, containing shape, skin, clothes, attachments / build, pose, and all the textures...
Every folder will then be removed from the inventory and kept. Only the folder of the previous participant will be accessible. Every participant makes a commitment not to use the elements found in the inventory for any creation other than the Synchronicity Avatar Collaborative.
Every participant has a deadline from 15 days to 3 weeks to realize his creation.
The SynchroniCity project lasts on one year but if the proposition meets a success we shall prolong it beyond.
Create the most original or delirious avatar but NOTHING racist, pornographic, gory, or offensive and no avatars in evening dress...
Every creation will be documented, by photo, movie... We also intend to create avatars to wear the stages of the avatar-transformation, during events or in a permanent way.
******
Synchronicity Avatar Collaboratif
Est une création collaborative ouverte à tous sur le thème SynchroniCity : Un axe, un passage vers d’autres espaces temps, d’autres niveaux de conscience et d’énergie.
aire-ville-spatiale.org/synchronicity
Chaque participant peut modifier en partie ou entièrement l’avatar créée par la participant précédent
shape
skin
clothes
attachements/build
pose
…
Vous ne savez pas modifier l'avatar ? Sans modifier l'apparence, vous pouvez créer un build qui sera « attaché » à une partie du corps (tête, torse, bras gauche ou droit, mains, bassin, jambes gauche ou droite, pieds, etc...)
Nous vous indiquerons comment faire.
Vous ne savez rien faire ? Nous avons tous une compétence, discutons en.
Pour participer :
Contacter Marc Moana en message privé par flickr ou par par SL pour demander le mot de passe de l’avatar.
Règles :
Toutes les créations seront en full perm (copy, modif, transfert) dans l’inventaire de l’avatar sauvegardé dans un dossier au nom du créateur contenant shape, skin, vêtements; attachements/build, Pose, …et l’ensemble des textures)
Chaque dossier sera enlevé de l’inventaire pour être conservé. Seul le dossier du participant précédent sera accessible. Chacun s’engage à ne pas utiliser les éléments qu’il a pu trouver dans l’inventaire pour une autre création que le SynchroniCity Avatar Collaboratif.
Chaque participant a un délai de 15 jours à 3 semaines pour réaliser sa création.
Le projet SynchroniCity dure un an mais si la proposition rencontre un succès nous la prolongerons au delà.
Réalisez l'avatar le plus original le plus délirant mais PAS de création raciste, pornographique, gore, offensante ni d'avatar en robe de soirée.
Chaque création sera documentée, photo, film... Nous envisageons aussi à créer des avatars pour porter, lors d'événements ou de façon permanente, les étapes des transformations.
Here is a new LEGO part idea prototype,
(made with LDD + Photoshop Layers & Mask)
If you think this piece will help you, add it to your favorites.
LEGO has read about this album and, your votes can direct them on the use of the production of these parts. (do we ever know)
Do not forget to look at the album on the right where are all the ideas of parts Prototype =>
Also find all my creations on the Flickr group "News LEGO Techniques".
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for the manufacture of accessories, objects, ...
Mary did you know that your baby boy would some day walk on water?
Mary did you know that your baby boy would save our sons and daughters?
Did you know that your baby boy has come to make you new?
This child that you've delivered, will soon deliver you.
Mary did you know that your baby boy would give sight to a blind man?
Mary did you know that your baby boy would calm a storm with his hand?
Did you know that your baby boy has walked where angels trod?
And when your kiss your little baby, you have kissed the face of God.
Oh Mary did you know---
The blind will see, the deaf will hear, the dead will live again.
The lame will leap, the dumb will speak, the praises of the lamb---.
Mary did you know that your baby boy is Lord of all creation?
Mary did you know that your baby boy would one day rule the nations?
Did you know that your baby boy is heaven's perfect Lamb?
This sleeping child you're holding is the great--I--- AM---.
by Mark Lowry and Buddy Greene