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The Garden City district of Cairo developed beginning in 1905 as an upscale “garden suburb”-style new district of Cairo. The district was built in a way that differentiated itself from the narrow streets and crowded buildings of the medieval city nearby. The area is home to some of Cairo’s best examples of residential Art Deco architecture, which has more in common with the less ornate version of the style found in Continental Europe than the grandiose, heavily ornamented variant found in the United States. The district was initially home to both elite Egyptians and Europeans, whom inhabited the district until the rise of Arab Nationalism in the 1950s, which led to the mass exodus of European residents from Egypt. At the time of its construction, Garden City was one of very few officially sanctioned private developments, as most development in Egypt was either officially planned by the colonial and national government or unplanned informal settlements until 1952. The area quickly became home to upscale Belle Époque villas, sleek Art Deco-style apartment buildings, shown here, and lush, tree-filled green areas. The area today is still home to some wealthier residents of Cairo, but is probably best known for being home to the Four Seasons Hotel, as well as the embassies of Italy, the US, and the UK. Though small, Cairo’s Garden City remains as one of the few examples of the Garden City movement outside of the western world.
Fun Facts
#1: The rules of water polo were originally developed in the late nineteenth century in Great Britain by William Wilson. The modern game originated as a form of rugby football played in rivers and lakes in England and Scotland with a ball constructed of Indian rubber. This "water rugby" came to be called "water polo" based on the English pronunciation of the Balti word for ball, pulu.
#2: Once at a team function, Team USA members Patty Cardenas and Brittany Hayes had some fun at head coach Guy Baker and assistant coach Kyle Kopp's expense. The two players donned khaki pants and matching polo shirts and Hayes added glasses and re-enacted a scene with the coaches following their win at the 2007 World Championships. Hayes was happy to report that the comic act went over well with everyone, including the two coaches.
The project APeel is an independently developed technique which aims to process biowaste into a soft yet robust leather-like material. The concept was inspired by observing the life of conventional textiles. There is great potential to use bio-wastes and create brand-new biodegradable materials. Additionally, by recycling, redesigning and remanufacturing, we can create an ecosystem that promotes a sustainable lifestyle.
APeel uses banana and orange peels and soy-milk residues to combine with a natural binding agent as substrate. The resulting composite is fully biodegradable, zero-waste and easy to reuse after the re-cooking process. Moreover, the bio-material has a toughness, durability and water resistance similar to leather. It also preserves a fruity smell, refined texture and feels great to the touch.
The focus is not only practicability but also nature-friendly aesthetics that don’t just conserve but help restore the environment. The material provides new insights and outlooks for modern lifestyles that want to enjoy the products they use daily while respecting the environment.
TheSoundOfTea_Credit-Ars Electronica - Robert Bauernhansl
U.S. Army Paratroopers assigned to the 2nd Infantry Brigade Combat Team (Airborne), 11th Airborne Division, conduct airborne operations aboard a C-130J Super Hercules assigned to the 36th Airlift Squadron, Yokota Air Force Base, Japan, during RED FLAG-Alaska 22-2 above the Joint Pacific Alaska Range Complex, June 15, 2022. This exercise provides unique opportunities to integrate various forces into joint, coalition and multilateral training from simulated forward operating bases.(U.S. Air Force photo by Senior Airman Patrick Sullivan)
the first in my project "developing"
to read a bit about it check out this blog entry :D
this is a film photo that I then scanned and edited in photoshop.
Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
A developing Supercell across far Northeast Wisconsin on July 1 2017. Only isolated storms were expected, but this beast began to develop along an old outflow boundary from a storm early in the afternoon. Aiding in the development was a lake breeze boundary. The updraft was so explosive.
Mikasa, Hokkaido.
Canon AV-1, Sigma Macro 90mm F2.8, negative for recording ISO 100 exposed as 320, developed with reversal processing as described before.
self developed with caffenol C,
colored film developed with coffee in black and white.
solaris 100 asa (exp. 2008) / cosina hi lite drl
30 October 2017- Presentation of Report on Responding to Refugee Crises in Developing Countries: What Can We Learn From Evaluations?
Charlotte Petri Gornitzka, Chair of the OECD Development Assistance Committee.
OECD, Paris, France
Photo: MarcoIlluminati/OECD
shots from a test roll i just ran through my new pentacon six fixed with arsenal vega 12b lens
fomapan 200 developed in microphen 1+3
All taken from my Olympus Trip 35 on Fuji 400
-Sacramento State
-Sacramento State
-Old Sac
-Kodaiko Ramen
-Sutter Creek
· Negra Pan 21 100 (exposed circa 1969)
· Yashica 635 (with 35mm adapter)
· Rodinal 1:100 1h (stand developed)
· Pakon F-135 Plus
La Yashica 635 que he adquirido recientemente tenía en su interior una sorpresa: un Negra Pan 21 expuesto. Sin apenas esperanzas lo revelé con Rodinal en desatendido durante una hora en dilución 1:100. Y aquí tenéis los resultados: una auténtica cápsula del tiempo que nos traslada a finales de los años 60, posiblemente 1969, y que pone de manifiesto la magia de la fotografía analógica. Más de 50 años después las fotos seguían ahí.
Canonet QL17, Ilford HP5 Plus, self developed at カメラのアマノ. These are the store scans, which are low resolution. I do not know what I am gonna get out of this roll when I scan it at hope, as I am used to working with chromogenic XP2 Super.
Traditional silver gelatin film and paper developed and printed by the artist in an analog darkroom. Ilford Multi-contrast Fiber Based Matte Paper Hand colored with watercolors.
The reason the right hand side says, "Digital" is that my images are 11" x 14" or larger most of the time and will not fit into the scanner. I use my Nikon D-50 to shoot the black and white, BW Toned or BW handcolored prints to enter them on Flickr
Developing Models for Cooperative Security
General Tea Banh, Deputy Prime Minister; Minister of National Defense, Cambodia
Richard Marles, Deputy Prime Minister; Minister for Defence, Australia
Dr Ng Eng Hen, Minister for Defence, Singapore
I was moving around while my aunt was doing her part on the honorary guest part. Tih boy was wanting to be filmed very badly and was trying every means he could think of.
I think he was quite cute with this flower.
Developing Models for Cooperative Security
General Tea Banh, Deputy Prime Minister; Minister of National Defense, Cambodia
Richard Marles, Deputy Prime Minister; Minister for Defence, Australia
Dr Ng Eng Hen, Minister for Defence, Singapore
I developed a knitting pattern for this hat. It is available on my blog: I am so proud of finishing this pattern. It was a lot of work, but a lot of fun. The free pattern can be found on my blog: projecthallway.wordpress.com/2011/01/04/project-hallway-t...
Ecovolis program has proven successful in dramatically increasing bicycle use in Tirana, which, formerly, was a city without a developed bicycle culture. Ecovolis program is the first project in Albania that provides low-income adults with commuter bicycles as well as a donating program for children bicycles. The program recently completed two major steps, opening new bike stations in the city of Durrës and integrating Tourist Information Point Service to the bicycles stations' structure.
History
The Tirana Community Bicycle Albania project won financial support from the George Soros Open Society Foundation Albania (OSFA). An even larger contribution came from the US-based Pedal for Progress organization, which donated 450 bicycles. Sixty of these were used road bikes, which were modified and painted by local technicians to serve as public bikes in the Ecovolis scheme. Another portion was set aside to donate to children and to activists and volunteers at PASS. Still another portion were diverted to the project's Eco Bicycle Shop, a social enterprise which sells bikes for USD 50-150 and reinvests profits for the service and maintenance of Ecovolis bicycles. The main objective of the program was to introduce the community to an inexpensive, environmental friendly form of transport -- the bicycle; to sell used bikes at low prices; to donate bikes to the children of needy families and to PASS volunteers; to establish a bike sharing-scheme in the city (Ecovolis); and to employ financially disadvantaged people and young students to operate the bike-sharing scheme.
System
Each Ecovolis station is staffed by two employees in two shifts and contains 30 -- 60 bicycles. In order to use the bicycles it is required to provide a personal identification document (such as passport or ID card) or by subscribing to the Ecovolis membership Card.
The first black and red bicycles, (also the colors of the Albanian flag) were donated from US-organization Pedal for Progress, (which collect and donate used bicycles). As these bicycles were of different types, converting them for safe and comfortable public use took months of work. The price per bicycle varies from 60 US$ to 90 US$ each. The bicycle is equipped with a front bicycle basket, a behind carrier, a comfortable saddle and a public fender with the Ecovolis sign.
The bicycle stations also provide touristic information to the visitors and a list of the city attractions. Moreover, being a non-profit social enterprise, during particular days the program offers free bicycle service, cycling courses, donations of bicycles and helmets for children in need, bike tours and a bicycle recycle program.
The Colonial Spanish Horse developed from animals of various breeds and types first brought from the Iberian peninsula to the Caribbean within the first 30 years of Conquest of the New World. The Spanish Mustang is a descendant of the Spanish horses brought from Cuba, Hispanola, and other islands during the conquest and establishment of the Spanish colony of New Spain in what today is Mexico. They are a direct remnant of the horses of a type that is mostly or wholly extinct now in Spain. As the conquest of Mexico progressed during the 16th century, horse herds spread north and crossed the Rio Grande. Over the next one hundred years, horses in the Americas were stolen and traded by the Apache, Comanche, and later the Utes and Shoshoni to various tribes across the Great Plains and Rocky Mountains. Lewis and Clark received horses, later claimed to be Spanish Mustangs, from the Shoshoni, and said they owed much of the success of their expedition to the horses.
Spanish Mustang developed as a distinct type during the 17th and 18th centuries, prior to the arrival of English-speaking American settlers on the Great Plains. By the late 19th century, the advance of farming onto the Great Plains threatened the existence of the Spanish Mustang, as this horse was deemed too small to be useful for the farm work. Both farmers and ranchers introduced taller and heavier horses into wild herds to create a different type of animal more suitable to the immediate needs of settlers. Thus various draft horse breeds, Morgans, Thoroughbreds, and other animals were crossed into the mustang herds.
On the brink of extinction in the early part of this century, the salvation of the original Spanish type can be attributed primarily, but not exclusively, to Ferdinand L. Brislawn and his brother Robert E. Brislawn of Oshoto, Wyoming, who founded the Spanish Mustang Registry, Inc. in 1957. Two full brothers, Buckshot and Ute, were his first foundation stallions, sired by a buckskin stallion named Monty and out of Ute Reservation blood on the dam's side. Monty, captured in 1927 in Utah, escaped back to the wild in 1944, taking his mares with him. He was never recaptured.
Kinnego Marina, Lough Neagh, N. Ireland.
Kodak Funsaver Disposable Camera. ISO 800 C41 film.
Developed July 2021
The ability and skills to touch and recognize things that happen within oneself, such as thoughts, feelings, bodies and emotions And what happened around Will develop better Understand the relationships between thoughts, feelings, actions, and the relationship of external factors that affect our internal state.
POLICY SEMINAR
Faster than you think: Renewable Energy and Developing Countries
JUN 13, 2019 - 09:30 AM TO 10:30 AM EDT
Large and rapid declines in costs for renewable energy systems, particularly solar and wind power, and efforts to limit greenhouse gas emissions are reshaping energy systems globally. Expanding renewable energy systems have great potential to achieve widespread electricity access, improve food security, and reduce emissions. Developing countries with high solar potential have a significant opportunity to leapfrog directly to more advanced energy technologies that are low cost, reliable, environmentally more benign, and well-suited to serving dispersed rural populations.
This seminar will discuss the broad changes occurring in renewable energy and the implications and opportunities for developing countries.
This research was supported by the Towards Inclusive Economic Development in Southern Africa program and by the CGIAR Research Program on Policies, Institutions, and Markets (PIM).
Keynote Speaker
Channing Arndt, Director of Environment and Production Technology Division, IFPRI
Discussant
Manish Bapna, Executive Vice President and Managing Director, World Resources Institute
Moderator
Elizabeth Bryan, Senior Scientist, IFPRI
61 Bank Holiday Monday Bury St Edmunds Minolta Dynax 5 Minolta 28-80mm F3.5-5.6 Ilford Delta 100 100 ISO Developed In Ilford Ilfosol 3 (1+9) 29-5-2023
shot using my Mamiya RZ 67on Kodak Tri-X 400, self developed and scanned on a Canoscan 9000F, cropped to a square format.
folsom st
soma
san francisco, california
nikon f6
nikon 85mm f/1.4 ai-s
efke kb25
agfa rodinal (1:100)
stand-developed for 60 minutes
National American History Museum's Science in American Life exhibit.
Visit ideonexus.com for science news and speculation.
Kottingwörth developed from a settlement on an island ("Werder") in the Altmühl river. The first wooden church may date back to the time of Christianisation. The first stone church, dedicated to St. Vitus, was built in the 12th century. It got consecrated between 1183 and 1195.
The towers were built between 1250 and 1310. In the first half of the 16th century, the towers were raised. In the years 1760/61, the medieval church building was replaced by a baroque new building, with the two towers being incorporated into a double tower facade.
A high wall surrounds the cemetery around the church. I rough times the church served as a “refuge” during enemy attacks.
some polaroid that has probably been in the camera since 1999 or so. out of four shots, this is the only one that developed at all. =)
for 'roid week 2008