View allAll Photos Tagged documentation
The center is housed in the unfinished National Socialist Congress Hall (Kongresshalle). For more info, visit museums.nuremberg.de/documentation-centre.
In the Portland Station Collection's documentation, this image is classified as Class 4B or Class 3B. It's also documented this way in the Bureau of Entomology Collection's documentation, but then those are crossed out and replaced with a Class 3C Keen Ponderosa Pine Tree Classification.
Photo by: F.P. Keen
Date: September 1934
Credit: USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection.
Collection: Bureau of Entomology and Portland Station Collections; La Grande, Oregon.
Image: PS-232 and BUR-8736
To learn more about this photo collection see:
Wickman, B.E., Torgersen, T.R. and Furniss, M.M. 2002. Photographic images and history of forest insect investigations on the Pacific Slope, 1903-1953. Part 2. Oregon and Washington. American Entomologist, 48(3), p. 178-185.
Image provided by USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth
The following information about the Keen Classification system is excerpted from Wickman, Boyd E. 2005. Harry E. Burke and John M. Miller, pioneers in Western forest entomology. Gen. Tech. Rep. PNW-GTR-638. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station. 163 p.:
"Keen’s research on tree classification continued in Oregon and was called the “Keen Ponderosa Pine Tree Classification.” The Salman-Bongberg approach was called the “California Pine Risk-Rating System.” Both systems evolved from research on tree susceptibility to bark beetle attack that had been conducted in the 1920s by Miller, Keen, Patterson, Person, and Struble. Tree growth rates were a particularly important area of the studies, with Miller and Person proposing that slower growing mature ponderosa pine were more susceptible to attack by the western pine beetle than younger more vigorous trees (Smith et al. 1981).
The rating systems resulted in a silvicultural approach to managing the western pine beetle instead of the direct control method of felling infested trees, then peeling and burning the bark. This was a breakthrough for forest managers that allowed them to capture the economic value of susceptible trees before they were killed by bark beetles, and at the same time resulted in decreased beetle populations or at least seemed to prevent outbreaks. The Salman- Bongberg California risk-rating system identified susceptible trees by assigning penalty points to crown and stem characteristics of a tree. This was followed up by a logging practice called sanitation salvage (Smith et al. 1981). The Keen system, involved four classes based on age and four vigor classes within each age class. It was oriented more toward identifying the susceptibility of individual trees to insect attack. Keen also assigned penalty points in his system. It was slightly more complex to use and was not directly tied to the sanitation salvage concept, but a certain level of logging of susceptible trees was generally followed. Keen’s classification was more widely used in ponderosa pine stands of eastern Oregon, and the California system was used for both ponderosa pine and Jeffrey pine stands in eastern California."
For more, see: www.fs.fed.us/pnw/publications/pnw_gtr638/
For more about Keen's classifications see: www.fs.fed.us/psw/publications/ecology_of.../psw_1943_kee...
Commissioned to work with SALT Research collections, artist Refik Anadol employed machine learning algorithms to search and sort relations among 1,700,000 documents. Interactions of the multidimensional data found in the archives are, in turn, translated into an immersive media installation. Archive Dreaming, which is presented as part of The Uses of Art: Final Exhibition with the support of the Culture Programme of the European Union, is user-driven; however, when idle, the installation "dreams" of unexpected correlations among documents. The resulting high-dimensional data and interactions are translated into an architectural immersive space.
Shortly after receiving the commission, Anadol was a resident artist for Google's Artists and Machine Intelligence Program where he closely collaborated with Mike Tyka and explored cutting-edge developments in the field of machine intelligence in an environment that brings together artists and engineers. Developed during this residency, his intervention Archive Dreaming transforms the gallery space on floor -1 at SALT Galata into an all-encompassing environment that intertwines history with the contemporary, and challenges immutable concepts of the archive, while destabilizing archive-related questions with machine learning algorithms.
In this project, a temporary immersive architectural space is created as a canvas with light and data applied as materials. This radical effort to deconstruct the framework of an illusory space will transgress the normal boundaries of the viewing experience of a library and the conventional flat cinema projection screen, into a three dimensional kinetic and architectonic space of an archive visualized with machine learning algorithms. By training a neural network with images of 1,700,000 documents at SALT Research the main idea is to create an immersive installation with architectural intelligence to reframe memory, history and culture in museum perception for 21st century through the lens of machine intelligence.
SALT is grateful to Google's Artists and Machine Intelligence program, and Doğuş Technology, ŠKODA, Volkswagen Doğuş Finansman for supporting Archive Dreaming.
Location : SALT Gatala, Istanbul, Turkey
Exhibition Dates : April 20 - June 11
6 Meters Wide Circular Architectural Installation
4 Channel Video, 8 Channel Audio
Custom Software, Media Server, Table for UI Interaction
For more information:
refikanadol.com/works/archive-dreaming/
Wednesday January 30, 2013
35/366
Things in my bag: Kobo Ereader, The diviners, When the emperor was divine, slingshot agenda, pink wrapped gift, USB keys, pens and pencils held together by an elastic band, post it notes, a pair of scissors, a spiderman folder, a small black moleskine, misc bits of paper, hand sanitizer, lanyard, phone charger, academic article, a bag of green tea, and more.
Commissioned to work with SALT Research collections, artist Refik Anadol employed machine learning algorithms to search and sort relations among 1,700,000 documents. Interactions of the multidimensional data found in the archives are, in turn, translated into an immersive media installation. Archive Dreaming, which is presented as part of The Uses of Art: Final Exhibition with the support of the Culture Programme of the European Union, is user-driven; however, when idle, the installation "dreams" of unexpected correlations among documents. The resulting high-dimensional data and interactions are translated into an architectural immersive space.
Shortly after receiving the commission, Anadol was a resident artist for Google's Artists and Machine Intelligence Program where he closely collaborated with Mike Tyka and explored cutting-edge developments in the field of machine intelligence in an environment that brings together artists and engineers. Developed during this residency, his intervention Archive Dreaming transforms the gallery space on floor -1 at SALT Galata into an all-encompassing environment that intertwines history with the contemporary, and challenges immutable concepts of the archive, while destabilizing archive-related questions with machine learning algorithms.
In this project, a temporary immersive architectural space is created as a canvas with light and data applied as materials. This radical effort to deconstruct the framework of an illusory space will transgress the normal boundaries of the viewing experience of a library and the conventional flat cinema projection screen, into a three dimensional kinetic and architectonic space of an archive visualized with machine learning algorithms. By training a neural network with images of 1,700,000 documents at SALT Research the main idea is to create an immersive installation with architectural intelligence to reframe memory, history and culture in museum perception for 21st century through the lens of machine intelligence.
SALT is grateful to Google's Artists and Machine Intelligence program, and Doğuş Technology, ŠKODA, Volkswagen Doğuş Finansman for supporting Archive Dreaming.
Location : SALT Gatala, Istanbul, Turkey
Exhibition Dates : April 20 - June 11
6 Meters Wide Circular Architectural Installation
4 Channel Video, 8 Channel Audio
Custom Software, Media Server, Table for UI Interaction
For more information:
refikanadol.com/works/archive-dreaming/
According to the existing documentation, before 1520 there was already a carnival festival in the city of Santo Domingo. Currently, this carnival is the center of official activities, starting with the coronation of King Calife. At the height of the colonial period carnivals were celebrated in Carnestolenda. They were often a culmination of great events and religious festivals, such as those in honor of San Juan Bautista, Las Mercedes, San Miguel, San Carlos, and Corpus Christi.
The carnival changed at the start of the nineteenth century - especially in mid-century- with the socio-economic, political, and urban changes of the city, where the people surged as fundamental protagonists. Meanwhile, in the streets of El Conde and in the private clubs, carnival took on a Europeanized elite expression. Enriquillo Park became the center of the popular carnival, from which many personalities arose such as: "Se me muere Rebeca", "Califa", "Los Indios", "Los Africanos", "Los Ali-Baba", among others. The principal area of celebration is still El Malecón where brightly colored floats and dance troupes march to the rhythm of the music.
CARNAVAL DE SANTO DOMINGO
De acuerdo con la documentación existente, antes de 1520 ya había carnaval en la ciudad de Santo Domingo. Este carnaval actualmente es el centro de las actividades oficiales, iniciándose con la coronación del Rey Califé. En pleno apogeo colonial se celebraban los carnavales de Carnestolenda, pero también como culminación de grandes acontecimientos y festividades religiosas, en honor a San Juan Bautista, Las Mercedes, San Miguel, San Carlos, Corpus Christi, entre otros.
El carnaval se transforma a partir del siglo diecinueve, sobre todo a mediados, con los cambios socio-económicos, políticos y urbanos de la ciudad, donde el pueblo surgirá como un protagonista fundamental. Mientras en la calle El Conde y los clubes privados se va a expresar el carnaval de las élites europeizadas, el Parque Enriquillo va a convertirse en el centro del carnaval popular, de donde van a surgir una rica cantidad de personajes, como: "Se me muere Rebeca", "Califa", "Los Indios", "Los Africanos", "Los Ali-Baba", entre otros. El área principal de celebración es en El Malecón donde desfilan carrozas y comparsas de colores llamativos al ritmo de la música.
©2010 Carlos A. Objio Sarraff, All Rights Reserved
This image is not available for use on websites, blogs or any other media without the explicit written permission of the photographer.
©2010 Carlos A. Objio Sarraff, Todos los derechos reservados
Esta imagen no está disponible para su uso en sitios web, blogs o cualquier otro medio sin la autorización expresa y por escrito del fotógrafo.
A Photojournalistic Documentation of how Covid-19 has affected the North, and how the North has adapted to overcome these difficulties.
Whilst the Highlands has always been popular with national and international tourists, there has been a massive rise of Scots enjoying a staycation, with camper vans and tents being the popular choice for accommodation as opposed to the hotels and hostels dotted around the North. Also on the rise are those travelling in their own cars, motorbikes, cycling and even 2 former hearses, who camp in tents at the roadside.
With the rise of staycationers, shops and restaurants have been extra vigilant to keep to the governments guidelines by measuring distancing on shop floors, having signs in shop windows to remind visitors to wear a face coverings, some shops limiting the amount of customers in at a time, offering hand sanitiser at the entrance, and many even having artwork of some form thanking the NHS for its hard work.
Not everything is fully open however, but those who can open have had to change how they operate. Tourist destinations that are able to open have had to limit the amount of customers to keep everyone safe, so for many tourists and staycationers they are opting to avoid tourist hotspots and are mostly interacting with activities they can do by themselves, so instead of visiting castles, museums and activity centres, tourists drive to beauty spots, go for walks, and are interacting with the natural landscape more. Instead of tourist hotspots like Eilean Donan Castle being queued out the door, tourists only go as far as the car park, get some photos of the castle, then leave to visit something else.
So has Highland tourism been affected by Covid-19? Yes, where folk are more cautious, shops and restaurants have signage in place requesting patrons wear face coverings, where town centres are quieter than usual, where public toilets have signage, where campsites won’t allow motorhomes unless they have on-board toilets, where almost every lay-by in the evening has someone camping overnight. So whilst it has affected the tourist season it hasn’t stopped tourism, if anything the Highlands are busier than normal due to a massive rise in staycationers, it’s made tourist and locals alike be more careful, where local community councils are making sure there are toilet facilities available or trowels left in camping locations to bury human waste, where hand sanitiser is available at popular tourist destinations, shops and public toilets, where many shops have upgraded their payment options where previously they only accepted cash, many have modernised and installed card payments.
So yes, it’s been affected, but the most notable negative impact is that businesses are losing trade as less folk are spending money in restaurants, shops and tourist hotspots, so whilst there is an increase in visitors to the Highlands, there is a decrease in money being spent.
All in all, the North has been doing a fantastic job with its Covid-19 precautions, they’re taking it seriously and making sure visitors are safe.
Project No: 2011-YEM-EN-574
Project title: Youth Economical Empowerment
Urban Economy
ICT
Activity: Training course on "Mobile Maintenance for 9 male youths"
Location: Taiz, Republic of Yemen
Photographer: Wahib Center for Documentation
devblog.wgbh.org/2008/07/11/testing-tuning-traveling/
First pass at user documentation for our new CMS.
Documentation from the Tessellation Exposition, July 29th -August 6th at the Jardim Botanico in Brasilia, Brazil.
Local accession number: 13_07_000042
Title: Royal House Medford
Genre: Photographs; Photographic prints
Date created: 1895-1905 (approximate)
Physical description: 1 photograph : print ; sheet 9 x 9 cm
General notes: Title from item.
Date notes: Date supplied by cataloger.
Subjects: Houses; Historic buildings
Collection: Archive of Photographic Documentation of Early Massachusetts Architecture
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
Project No: 2011-YEM-EN-574
Project title: Youth Economical Empowerment
Urban Economy
ICT
Activity: Training course on "Mobile Maintenance for 9 male youths"
Location: Taiz, Republic of Yemen
Photographer: Wahib Center for Documentation
This is what the documentation at my current job looks like. I work in Desktop Support and the other guy has all his notes on print outs in a giant folder. So I get to dig through this every time I need to find something.
My Russian fiancée is applying for a Danish visa, but even though it's a short 60-day tourist visa, the department of emigration needs "Documentation of the relationship" to make sure I'm not.. I don't exactly know what. Print-outs of Flickr photos, personal e-mail, phone bills, photocopies of stamps and visas from my passport etc. etc. It's like falling in love with someone outside Europe is a crime.
How I hate bureaucracy.
After two school buses collided on the San Diego (405) Freeway in west Los Angeles on January 10, 2009, Los Angeles Firefighters moved the two lightly damaged vehicles - carrying a total of 126 passengers, to a large off-highway parking lot where an efficient triage led them to transport twenty-five with minor complaints to area hospitals. © Photo by John Conkle
this is the reason why mike keeps good care of geoserver docs, he has a great skeptical response to each developer explanation
Picnickers prepare to visit and document the creator of Space City. Sue Johnson, Stella Marrs, Steve Peters, Rich Jensen. Olympia, Washington. Late Summer 1985. Photo by Julie Fay.
The Documentation Center Nazi Party Rallying Grounds (German: Dokumentationszentrum Reichsparteitagsgelände) is a museum in Nuremberg. It is in the north wing of the unfinished remains of the Congress Hall of the former Nazi party rallies. Its permanent exhibition "Fascination and Terror" is concerned with the causes, connections, and consequences of Nazi Germany. Topics that have a direct reference to Nuremberg are especially taken into account. Attached to the museum is an education forum.
In 1994 the city council of Nuremberg decided to establish the Documentation Center. Austrian architect Günther Domenig designed the museum, winning the 1998 international competition with his proposal to spear through the northern head of the building with a diagonal glass and steel passageway. Inherent in the gesture of this project is a pun on the name and a refutation of the chief Nazi architect Albert Speer who had directed a masterplan for this site including a Zeppelin Field, a stadium to hold 400,000, a March Field for military exercises, a Congress Hall for 50,000, and a 180-foot (55 m) wide Great Road.[1] This is where Speer had created the "cathedral of light" and where the Nazis drew nearly a million people in rallies between 1933 and 1938. These were captured on film by Leni Riefenstahl in Triumph of the Will. Domenig, the son of a Nazi judge, confronted his own personal history in addition to the history and Nazi architecture of the project's site. On November 4, 2001 the project was unveiled by Johannes Rau, then President of Germany.