View allAll Photos Tagged error
No messaging other than the X to the right of the field.
The Next button is enabled, but clicking it does nothing.
This is one of the coolest 404 pages I've seen in a while. It makes me not even upset that I couldn't find what I wanted to look at.
blogged: Delightful error pages.
Cite:
A team of highly trained monkeys has been dispatched to deal with this situation. In any case, please report this incident to customer service.
La vida te da a veces la espalda
Lo importante es saber como aceptarla
Cuando sientes que ya no quedan ganas
Es que Dios te premiara con nuevas alas
Un ángel a tu vida llegara
Alguien que no posee maldad
Dispuesto a cambiar tú destino
Por que así quiso la vida y tú fuiste elegido
Se que sientes tu corazón herido…##
a few weeks back i tried to buy something on verkkokauppa.com - my browser crashed just as i was authorising the payment on sampo bank website - my 16euros were lost in limbo for a few weeks. no order was confirmed. anyway the 16e came back to me yesterday so i tried again. instead of using safari or firefox in osx i used ie7 in windows xp. this time other error messages came through and no order was placed. at least my 16e didnt get lost this time.
update: just now i ordered something on amazon.co.uk - a little while later i get an email from them saying "we are having difficulty processing the payment" = more problems with sampo :/ ignore this :) it was a problem with me not sampo :)
"what? the AD is functioning properly!? the error reporting system must be broken! sound the alarms!"
seen while playing with a VM
It's true, errors are the prettiest part of graphics programming.
This pretty garbage haunted my late nights for a while as I finished my (free) Photoshop PSD Extract/Recovery plugin, telegraphics.com.au/sw#psdrecover
Marine Attack Squadron 311 (VMA-311) is a United States Marine Corps fighter squadron consisting of AV-8B Harrier (V/STOL) jets. Known as the "Tomcats", the squadron is based at Marine Corps Air Station Yuma, Arizona and falls under the command of Marine Aircraft Group 13 (MAG-13) and the 3rd Marine Aircraft Wing (3rd MAW).
McDonnell Douglas AV-8B-14-MC Harrier II 163868 (VMA-214) crashed on Chocolate Mountain range, AZ .Feb 29, 1996. Must be an error, since this plane is reported as still flying with VMA-311.
Was seen as:
VMA-513 WF#20 July 25, 2010
VMA-214 WE #21 January 16, 2010
Screenshot of the installation I keep getting while trying to install Lightroom 3 beta on my MacBook. I'll Keep my blog updated regarding my progress, really looking forward to using the new Lightroom 3.
This Black Rhinoceros, Diceros bicornis, was photographed in Kenya, as part of a research project utilizing motion-activated camera-traps.
You are invited to go WILD on Smithsonian's interactive website, Smithsonian WILD, to learn more about the research and browse photos like this from around the world.
We made it to Friday again.
Well done team.
We woke to hear Storm Éowyn raging outside. It was the deepest low to hit the UK and Ireland, had gusts of up to 187 km/h in Ireland, but not here.
But we got gales and rain. On bin day!
So, once Jools left for yoga, I put the bins out and made sure they were up against the lamp post outside the house, so not to blow over in the wind, like many's already had.
Back indie for breakfast and a brew, then to work with three meetings and much updating of databases and spreadsheets.
By mid-morning, as forecasted, the winds dropped, the sky cleared and the sun came out.
As we had to catch an early afternoon train to London, so had taken the day off work, so got chores done, did a tip run and so on.
She got back at half eleven, I had one last meeting, then a pasty Jools brought back for lunch, then pack away before leaving at one for the station.
Camera batteries were charged, and memory cards cleared.
All ready.
We even got a parking space outside the station, so filled that, went inside to buy our tickets and then had half an hour to wait, so went to the buffet for coffee and chocolate.
The train, when it came was pretty empty, so we got seats with a table, and so watched through the large window as the countryside flashed by.
We dozed on the way up, so it seemed quick that we arrived at Stratford, where we detrained and got ready to cross down to Docklands.
The phone rang: it was the vet.
Scully has diabetes, and so needs treatment, but first an assessment on how serious the condition is.
Jools talks with them for ten minutes, with a stay planned, though not booked, so her urine can be tested for crystals.
We had 80 minutes, so I asked Jools if she wanted a drink: coffee or cider?
Coffee, no cider. So I take her to Tap East where I was considering the beers on taps, when I spotted the bottled beers in the cooler, and I cannot resist a Chimay Blue. So, we linger for twenty minutes as I supper the strong but delightful beer.
We walked through the glittering palace that is Westfield. Full of people and shiny things, though nothing really appealed to us. A monument to consumerism if leaves us cold.
Up the escalator, then over the wide footbridge to the regional station, where we went down to catch a Jubilee Line train to Canary Wharf.
We didn't squeeze on the train about to leave, instead getting a seat on the next train which would depart a mere three minutes later.
Not much to report on that trip, the train screeching once it went into tunnels beyond Canning Town, we got out at the deep Canary Wharf station, pausing to take a couple of shots.
We took the two flights of escalators up to the concourse, then stop to take obligatory shot of the entrance to street level where we were to meet friends.
We went to the square, and took seats looking back at the entrance to The Tube, and the buildings surrounding, towering over everything.
Our friends, Vicki and Justin, arrive, and after receiving a leaflet of the Winter Lights display we were ere to see, we make our way to the Elizabeth Lone station, taking in the sights on the way. Not that we were going anywhere on it, or yet as it turned out, just for the installations and architecture.
We walked though several foyers and atriums, across roads before coming to where the station was bult in a concrete box in a former dock. On top of it, a wooden arboretum bas built on top, with another mall with eateries and restaurants.
And leading to it is a tunnel-cum-bridge, all futuristic, and currently brightly painted as its housing an art installation.
We all took several shots on the way to the arboretum.
The open area was dotted with lit figures, like they'd OD'd on Ready Brek, looked good, but time was getting on.
So back down to the ground floor, and back to the bridge and back towards Canada Place and Canary Wharf.
Next stop was Wren Landing, where although there was an installation, it wasn't that photogenic, but the view over the dock was, all lights reflected in the still dark waters.
We turned back, and then right as we made our way to Westferry Circus, and two installations that could be seen there.
A one way system for pedestrians was in force, so we followed that, an dover the flyover crossing Westferry Road to the Promenade.
There we found a series of hoops that lit up and changed colour with the music playing. I should have taken a video but the world and his wife were going the same, so I took a few shots and moved out of the way.
In the centre of Westferry Circus was another installation, Error, swirling blue lights that look best on video.
So, dinner was calling. Justin had said they liked Zizzi, so to get there we had to walk past one more installation, a load of floating balls in Cabot Square. They change colours and the still night means the reflections are perfect.
We go back inside, and up three flights of escalators, get a table near the kitchen, not bad considering we hadn't booked.
I have Caprese (of course), then followed my slow roast pulled pork ragu, which was pretty good. We all ate well, and no one needed a desert.
Time was getting on, so we decide to head home. We part from our friends and walk back to the Jubilee Line entrance, but as we approached the entrance, staff we pulling across steel mesh gates, and signs outside stated service was suspended.
Quickly, we headed back to the Elizabeth Line, past the coloured tunnel, then down several more sets of escalators to platform level, and manage to squeeze on a train heading west. As we had to change at Whitechapel before heading back to Stratford.
We reached Stratford, made our way to the DLR to catch a train to the International station. We were pooped.
We walked to the entrance to the High Speed platforms; we had just fifteen minutes to wait for a train direct to Dover.
On the platform, two Eurostars hammered by making a lot of noise and shifting a lot of air, before our train glided in. We get seats, and Jools closes her eyes and soon drifts off.
The train rushes to Dartford, under the river and into Kent, and then south to Ashford, Folkestone getting us back to Dover by quarter past nine.
We climb in the car, drive home where the feline welcoming committee stated they though the long delay for dinner, some four and a half hours, was unacceptable. But ate well when fresh bowls were presented to them.
November 10, 2018 at 2:00pm- 3:30pm at Centrespace Gallery, VRC
Taking this idea as a starting point, we would like you to interpret this principle
Sustain your errors, is a series of workshops and events re-interpreting a set of ideas by artist and musician David Cunningham first used for his 1976 album Grey Scale.
In an introduction to the project taking place during NEoN, writer Cicely Farrer invites artist Katie Hare to together explore the ‘error system’ in the algorithmic age, through dialogue, sound, projection and human movement, extending Cunningham’s album in a new performative encounter.
Katie Hare is an artist whose work examines the effects of the increasing rapidity of technological progress, particularly with regards to memory and obsolescence and the way narrative and storytelling is shifting as a result of this development.
Introduction to David Cunningham’s Error System
David Cunningham’s art work evades visual description as it is mostly real-time sound based and site specific. His installations and performances are experienced across sound, music, light, movement and the architectures of space. He frequently uses a systems approach. This systems approach could be through a sound loop, overlapping cycles, a set of instructions, collaborative conditions or the space the work inhabits.
Sustain your errors draws on an early work of David’s, Grey Scale, for which he set up scores/instructions in the production of his sound work in the late 70s. In its original form, Grey Scale is an album that was originally released as a vinyl record in a grey card sleeve in 1976. The album features tracks which are played across a range of instruments, percussion, tape recorders, synthesisers and water.
The project is based on conversations between Cicely Farrer and David Cunningham around ways of interpreting the scores and their guiding principles. Cicely has received mentorship from artist Pernille Spence.
Supported by the National Lottery through Creative Scotland.
Image Credit: Kathryn Rattray Photography