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• Camera: Canon EOS 40D + Canon 18-55
• Manfrotto Tripod 190XPROB + 488RC2
• Standard Three [3] Bracketed Exposures [RAW] + Photomatix + CS3
• Location: Seef Area, Bahrain
Hehehe....it's like Pokemon... Anyway, was fixing these guys last night, swapping worn parts, ect. Figured a pic of them together would be cool. This is also a great excuse to wish you all a happy Easter, or whatever the hell you're doing today.
Shirt with vest. Two colors vest combinated with a shirt with a rolled up sleeves. Can be wear tucked or untucked. Casual look with a touch of style.
► Taxi to: A&D Clothing Main Store !!!
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► Bodymesh friendly for Jake, Gianni, Geralt, Legacy, Slink, Evolve, Davide and Adam
☞ Mesh 100% original
☞ This is a slim design and most bodymeshes will need to use their alpha Huds
► Available Packs ➠ FatPack, SlimPack (all single colors together) and 8 Single Color Packs
► FatPack Options
☞ 8 Designer's Choice options. Apply 8 different looks with just one click.
☞ 18 Vest colors
☞ 18 Shirt colors
☞ 18 Cuffs colors
☞ 10 Button colors
☞ Tucked or untucked option
☞ Materials enabled On/Off
☞ Access to social/media buttons: website, Facebook, Flickr, mail, etc
► SlimPack Options
☞ 8 Designer's Choice options. Apply 8 different looks with just one click.
☞ 8 Vest colors
☞ 18 Shirt colors
☞ 18 Cuffs colors
☞ 10 Button colors
☞ Tucked or untucked option
☞ Materials enabled On/Off
☞ Access to social/media buttons: website, Facebook, Flickr, mail, etc
► Single Color Options
☞ 1 Designer's Choice option. Apply a complete look with just one click.
☞ 1 Vest colors
☞ 5 Shirt colors
☞ 5 Cuffs colors
☞ 10 Button colors
☞ Tucked or untucked option
☞ Materials enabled On/Off
☞ Access to social/media buttons: website, Facebook, Flickr, mail, etc
► Taxi to: A&D Clothing Main Store !!!
✿Cocktail Dress
✿Maitreya - Reborn - Kupra
✿Hud 10 Colors
✿Christmas Event
✿Sale In The Store
✿https://www.flickr.com/people/131252786@N04/
✿http://maps.secondlife.com/secondlife/BOSL%20INNOVATION%20PAVILLION/194/213/34
The mess I sit in front of every day. A differently focused view in the comments below.
7 Days of Shooting/Week #1/Messy Moments/Focus Friday
This is one of my original two sided paintings, (this is the back side of it."
Evolving - 2009
Acrylics on AcrylicSheet
46"h x 23 1/2"w
Evolve - JUST EVOLVE-TRIBE CALLED QUEST
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+ *PosESioN* Ivyana Set
New at Cosmopolitan
Details @ lucemiablog.wordpress.com/2016/06/10/lucemia-evolve-poses...
Blog LuceMia
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www.flickr.com/photos/lucemia/
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♥ 10 COLORS HUD
♥ MAITREYA / REBORN/ LARA X
MAINSTORE: maps.secondlife.com/secondlife/BOSL%20INNOVATION%20PAVILL...
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"Gaia"~Exhibition
Extremadura, Spain
20x20
No reproduction of this image is allowed without prior permission of the photographer. Ninguna reproducción de esta imagen está permitida sin el previo permiso del fotógrafo.
© Paola Suárez
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From Wikipedia, the free encyclopedia
The áo dài (English pronunciation: /ˈaʊˈdaɪ, ˈɔːˈdaɪ, ˈaʊˈzaɪ/; Vietnamese: [ʔaːw˧˦ zaːj˨˩] (North), [ʔaːw˦˥ jaːj˨˩] (South), Hán-Nôm: 襖)[1][2] is a traditional Vietnamese national garment. Besides suits and dresses nowadays, men and women can also wear áo dài on formal occasions. It is a long, split tunic worn over trousers. Áo translates as shirt.[3] Dài means "long".[4] The term can be used to describe any clothing attire that consists of a long tunic, such as "nhật bình".
The predecessor of the Áo dài was invented by the Nguyễn lords in Phú Xuân in the 18th century. This outfit evolved into the Áo ngũ thân, a five-paneled popular shirt worn in the 19th and early 20th centuries. Inspired by Paris fashions, Nguyễn Cát Tường and other Hanoi artists redesigned the ngũ thân as a modern dress in the 1920s and 1930s.[5] The updated look was promoted by the artists and magazines of Tự Lực văn đoàn (Self-Reliant Literary Group) as a national costume for the modern era. In the 1950s, Saigon designers tightened the fit to produce the version worn by Vietnamese women.[5] The ao dai dress for women was extremely popular in South Vietnam in the 1960s and early 1970s. On Tết and other occasions, Vietnamese men may wear an áo gấm (brocade robe), a version of the ao dai made of thick fabric.
The áo dài dress has traditionally been marketed with a feminine appeal, with "Miss Ao Dai" pageants being popular in Vietnam and with overseas Vietnamese.[6] However, the men version of ao dai or modified ao dai are also worn during weddings or formal occasions. The ao dai is one of the few Vietnamese words that appear in English-language dictionaries.[a] The ao dai can be paired with the nón lá or the khăn vấn.
Parts of dress
Diagram showing the parts of an ao dai
Tà sau: back flap
Nút bấm thân áo: hooks used as fasteners and holes
Ống tay: sleeve
Đường bên: inside seam
Nút móc kết thúc: main hook and hole
Tà trước: front flap
Khuy cổ: collar button
Cổ áo: collar
Đường may: seam
Kích (eo): waist
Origin
For centuries, peasant women typically wore a halter top (yếm) underneath a blouse or overcoat, alongside a skirt (váy).[7] Aristocrats, on the other hand, favored a cross-collared robe called áo giao lĩnh, which bore resemblance to historical Vietnamese clothing.[8][9] When the Ming dynasty occupied Đại Việt during the Fourth Era of Northern Domination in 1407, it forced the women to wear Chinese-style pants. The following Lê dynasty also criticized women for violating Confucian dress norms, but only enforced the dress code haphazardly, so skirts and halter tops remained the norm. During the 17th and 18th centuries, Vietnam was divided into northern and southern realms, with the Nguyễn lords ruling the south.[10] To distinguish the southern people from the northerners, in 1744, Lord Nguyễn Phúc Khoát of Huế decreed that both men and women at his court wear trousers and a gown with buttons down the front.[5][b] The members of the southern court were thus distinguished from the courtiers of the Trịnh Lords in Hanoi, who wore áo giao lĩnh with long skirts.[8]
According to Lê Quý Đôn's record in the book "Phủ Biên Tạp Lục" (recording most of the important information about the economy and society of Đàng Trong for nearly 200 years), the Áo dài (or rather, the forerunner of the Áo dài) created by Lord Nguyễn Phúc Khoát based on Chinese Ming Dynasty costumes, by how to learn the method of making costumes in the book "Sāncái Túhuì" as the standard.[11]
19th century
The áo ngũ thân (five part dress) had two flaps sewn together in the back, two flaps sewn together in the front, and a "baby flap" hidden underneath the main front flap. The gown appeared to have two-flaps with slits on both sides, features preserved in the later ao dai. Compared to a modern ao dai, the front and back flaps were much broader and the fit looser and much shorter. It had a high collar and was buttoned in the same fashion as a modern ao dai. Women could wear the dress with the top few buttons undone, revealing a glimpse of their yếm underneath.
Huế's Đồng Khánh Girl's High School, which opened in 1917, was widely praised for the ao dai uniform worn by its students.[12] The first modernized ao dai appeared at a Paris fashion show in 1921. In 1930, Hanoi artist Cát Tường, also known as Le Mur, designed a dress inspired by the áo ngũ thân and by Paris fashions. It reached to the floor and fit the curves of the body by using darts and a nipped-in waist.[13] When fabric became inexpensive, the rationale for multiple layers and thick flaps disappeared. Modern textile manufacture allows for wider panels, eliminating the need to sew narrow panels together. The áo dài Le Mur, or "trendy" ao dai, created a sensation when model Nguyễn Thị Hậu wore it for a feature published by the newspaper Today in January 1935.[14] The style was promoted by the artists of Tự Lực văn đoàn ("Self-Reliant Literary Group") as a national costume for the modern era.[15] The painter Lê Phô introduced several popular styles of ao dai beginning in 1934. Such Westernized garments temporarily disappeared during World War II (1939–45).
In the 1950s, Saigon (now Ho Chi Minh City) designers tightened the fit of the ao dai to create the version commonly seen today.[5] Trần Kim of Thiết Lập Tailors and Dũng of Dũng Tailors created a dress with raglan sleeves and a diagonal seam that runs from the collar to the underarm.[5] Madame Nhu, first lady of South Vietnam, popularized a collarless version beginning in 1958. The ao dai was most popular from 1960 to 1975.[16] A brightly colored áo dài hippy was introduced in 1968.[17] The áo dài mini, a version designed for practical use and convenience, had slits that extended above the waist and panels that reached only to the knee.[13]
Communist period
The ao dai has always been more common in the South than in the North. The communists, who gained power in the North in 1954 and in the South in 1975, had conflicted feelings about the ao dai. They praised it as a national costume and one was worn to the Paris Peace Conference (1969–73) by Vietcong negotiator Nguyễn Thị Bình.[18] Yet Westernized versions of the dress and those associated with "decadent" Saigon (Ho Chi Minh City) of the 1960s and early 1970s were condemned.[19] Economic crisis, famine, and war with Cambodia combined to make the 1980s a fashion low point.[20] The ao dai was rarely worn except at weddings and other formal occasions, with the older, looser-fitting style preferred.[19] Overseas Vietnamese, meanwhile, kept tradition alive with "Miss Ao Dai" pageants (Hoa Hậu Áo Dài), the most notable one held annually in Long Beach, California.[5]
The ao dai experienced a revival beginning in late 1980s, when state enterprise and schools began adopting the dress as a uniform again.[5] In 1989, 16,000 Vietnamese attended a Miss Ao Dai Beauty Contest held in Ho Chi Minh City.[21] When the Miss International Pageant in Tokyo gave its "Best National Costume" award to an ao dai-clad Trường Quỳnh Mai in 1995, Thời Trang Trẻ (New Fashion Magazine) claimed that Vietnam's "national soul" was "once again honored".[22] An "ao dai craze" followed that lasted for several years and led to wider use of the dress as a school uniform.[23]
Present day
No longer deemed politically controversial, ao dai fashion design is supported by the Vietnamese government.[20] It is often called áo dài Việt Nam to link it to patriotic feelings. Designer Le Si Hoang is a celebrity in Vietnam and his shop in Ho Chi Minh City is the place to visit for those who admire the dress.[20] In Hanoi, tourists get fitted with ao dai on Luong Van Can Street.[24] The elegant city of Huế in the central region is known for its ao dai, nón lá (lit. 'traditional leaf hat'), and well-dressed women.
The ao dai is now a standard for weddings, for celebrating Tết and for other formal occasions. It's the required uniform for female teachers (mostly from high school to below) and female students in common high schools in the South; there is no requirement for color or pattern for teachers while students use plain white with some small patterns like flowers for school uniform and in many Vietnamese high schools, female students are required to wear ao dai on one day is Monday. Companies often require their female staff to wear uniforms that include the ao dai, so flight attendants, receptionists, bank female staff, restaurant staff, and hotel workers in Vietnam may be seen wearing it.
The most popular style of ao dai fits tightly around the wearer's upper torso, emphasizing her bust and curves. Although the dress covers the entire body, it is thought to be provocative, especially when it is made of thin fabric. "The ao dai covers everything, but hides nothing", according to one saying.[18] The dress must be individually fitted and usually requires several weeks for a tailor to complete. An ao dai costs about $200 in the United States and about $40 in Vietnam.[25]
"Symbolically, the ao dai invokes nostalgia and timelessness associated with a gendered image of the homeland for which many Vietnamese people throughout the diaspora yearn," wrote Nhi T. Lieu, an assistant professor at the University of Texas at Austin.[6] The difficulties of working while wearing an ao dai link the dress to frailty and innocence, she wrote.[6] Vietnamese writers who favor the use of the ao dai as a school uniform cite the inconvenience of wearing it as an advantage, a way of teaching students feminine behavior such as modesty, caution, and a refined manner.[23]
The ao dai is featured in an array of Asian-themed or related movies. In Good Morning, Vietnam (1987), Robin Williams's character is wowed by ao dai-clad women when he first arrives in Ho Chi Minh City. The 1992 films Indochine and The Lover inspired several international fashion houses to design ao dai collections,[26] including Prada's SS08 collection and a Georgio Armani collection. In the Vietnamese film The White Silk Dress (2007), an ao dai is the sole legacy that the mother of a poverty-stricken family has to pass on to her daughters.[27] The Hanoi City Complex, a 65-story building now under construction, will have an ao dai-inspired design.[28] Vietnamese designers created ao dai for the contestants in the Miss Universe beauty contest, which was held July 2008 in Nha Trang, Vietnam.[29] The most prominent annual Ao Dai Festival outside of Vietnam is held each year in San Jose, California, a city that is home to a large Vietnamese American community.[30] This event features an international array of designer ao dai under the direction of festival founder, Jenny Do.
In recent years, a shorter, more modern version of the ao dai, known as the áo dài cách tân, is often worn by the younger generation. This modern ao dai has a shorter front and back flap, hitting just below the knees.
The decision to release paid DLC for Early Access title Ark appears to have drawn ire and revenue in equal measure.
E3 2016: Watch all the E3 PC game trailers.
In approx' 1830 J.M.W.Turner sketched then painted a view of Dudley Castle from within yards (metres) of the location from which this photograph was taken. Almost everything in the scene has changed except the ruins of the castle on the crest of the hill. The buildings on the far side of the canal are now part of the Black Country Living Museum (a location for the television series 'Peaky Blinders').
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
I love to ride. I think it is a great way to explore the world around us, it is great exercise and results in zero pollution in moving us from point a to point b. Win, win, win. So I found myself a bit delighted at a new exhibit at the Museum of Science and Industry that focuses on the evolution of bicycles. I am going to skip over most of the bikes in the exhibit, but will force you to witness six or so that I found more interesting.
For those in the Northern Hemisphere: it is spring - get out there and sneak in a ride. For those in the Southern Hemisphere: winter is coming - hurry up and sneak in a ride. Have a wonderful Sunday people!
From the exhibit:
For 200 years, people have continuously reinvented the bicycle. Every design, whether practical or not, has contributed to the bicycle's evolution. With each decade, new designs and technologies improved the popular machine, making riding safer, more reliable and more fun.
As the bicycle developed, pedals were added, wheel sizes changed and chain-driven systems appeared. From the unstable "Bone Shakers" of the 1830s to the innovative performance-enhanced designs of today, the bicycle continues to evolve driven by the inventiveness of its riders.
The picture above is The Draisiene Walking Machine. (The design was from 1818, the bicycle in the image is a replica made in 1931). Invented by Baron Von Drais, this 1931 replica recreates the features of his original "Draisiene." The forerunner to today's bicycles, it has a wooden frame and metal wheel rims, but no pedals. This fun but impractical "mechanical horse" inspired an explosion of inventive creativity that continues to this day.
Argus C44R 1958-62
35mm Argus Cintagon f4.5 lens
ORWO UN54 Film, 100 iso
Developed with Cinestill Film Df96 Monobath Developer
5th roll developed
75 degrees 5 minutes
20180929AC44R-048
IMO: 9817169
MMSI: 244020000
Anropssignal: PBRI
Flagga: Netherlands [NL]
AIS Vessel Type: Tanker
Gross Tonnage: 4923
Dödvikt: 7999 t
Length Overall x Breadth Extreme: 114.95m × 15.87m
Byggnadsår: 2019
Status: Active
Read more at www.marinetraffic.com/en/ais/details/ships/shipid:5831966...
Hey guys! I'm in need of some new bloggers! Application is below, or msg me inworld if you have questions!
<3 BellaStarr Fhang
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Evolve New Release!!!
Designer: Reign Congrejo...My Stunning Mom!
Photo By: Angeli Optera
I recently uncovered a trippy little piece I wrote on constructive constructions for the creatives at ARUP:
Evolving Cities and Culture
Innovation is critical to economic growth, progress, and the fate of the planet. Yet, it seems so random. But patterns emerge in the aggregate, and planners and politicians may be able to promote innovation and growth despite the overall inscrutability of this complex system.
One emergent pattern, spanning centuries, is that the pace of innovation is perpetually accelerating, and it is exogenous to the economy. Rather, it is the combinatorial explosion of possible innovation-pairings that creates economic growth. And that is why cities are the crucible of innovation.
Geoffrey West of the Santa Fe Institute argues that cities are an autocatalytic attractor and amplifier of innovation. People are more innovative and productive, on average, when they live in a city because ideas can cross-pollinate more easily. Proximity promotes propinquity and the promiscuity of what Matt Ridley calls “ideas having sex”. This positive network effect drives another positive feedback loop - by attracting the best and the brightest to flock to the salon of mind, the memeplex of modernity.
Cities are a structural manifestation of the long arc of evolutionary indirection, whereby the vector of improvement has risen steadily up the ladder of abstractions from chemicals to genes to systems to networks. At each step, the pace of progress has leapt forward, making the prior vectors seem glacial in comparison – rather we now see the nature of DNA and even a neuron as a static variable in modern times. Now, it’s all about the ideas - the culture and the networks of humanity. We have moved from genetic to mimetic evolution, and much like the long-spanning neuron (which took us beyond nearest neighbor and broadcast signaling among cells) ushering the Cambrian explosion of differentiated and enormous body plans, the Internet brings long-spanning links between humans, engendering an explosion in idea space, straddling isolated pools of thought.
And it’s just beginning. In the next 10 years, four billion minds will come online for the first time to join this global conversation (via Starlink broadband satellites).
But why does this drive innovation and accelerating change? Start with Brian Arthur’s observation that all new technologies are combinations of technologies that already exist. Innovation does not occur in a vacuum; it is a combination of ideas from before. In any academic field, the advances today are built on a large edifice of history. This is the foundation of progress, something that was not so evident to the casual observer before the age of science. Science tuned the process parameters for innovation, and became the best method for a culture to learn.
From this conceptual base, come the origin of economic growth and accelerating technological change, as the combinatorial explosion of possible idea pairings grows exponentially as new ideas come into the mix (on the order of 2^n of possible groupings per Reed’s Law). It explains the innovative power of urbanization and networked globalization. And it explains why interdisciplinary ideas are so powerfully disruptive; it is like the differential immunity of epidemiology, whereby islands of cognitive isolation (e.g., academic disciplines) are vulnerable to disruptive memes hopping across, much like South America was to smallpox from Cortés and the Conquistadors. If disruption is what you seek, cognitive island-hopping is good place to start, mining the interstices between academic disciplines.
So what evidence do we have of accelerating technological change? At Future Ventures, we see it in the diversity and quality of the entrepreneurial ideas arriving each year across our global offices. Scientists do not slow their thinking during recessions.
For a good mental model of the pace of innovation, consider Moore’s Law in the abstract – the annual doubling of compute power or data storage. As Ray Kurzweil has plotted, the smooth pace of exponential progress spans from 1890 to today, across countless innovations, technology substrates, and human dramas — with most contributors completely unaware that they were fitting to a curve.
Moore’s Law is a primary driver of disruptive innovation – such as the iPod usurping the Sony Walkman franchise – and it drives not only IT and communications, but also now genomics, medical imaging and the life sciences in general. As Moore’s Law crosses critical thresholds, a formerly lab science of trial and error experimentation becomes a simulation science and the pace of progress accelerates dramatically, creating opportunities for new entrants in new industries. And so the industries impacted by the latest wave of tech entrepreneurs are more diverse, and an order of magnitude larger — from automobiles and rockets to energy and chemicals.
At the cutting edge of computational capture is biology; we are actively reengineering the information systems of biology and creating synthetic microbes whose DNA was manufactured from bare computer code and an organic chemistry printer. But what to build? So far, we largely copy large tracts of code from nature. But the question spans across all the complex systems that we might wish to build, from cities to designer microbes, to computer intelligence.
As these systems transcend human comprehension, will we continue to design them or will we increasingly evolve them? As we design for evolvability, the locus of learning shifts from the artifacts themselves to the process that created them. There is no mathematical shortcut for the decomposition of a neural network or genetic program, no way to "reverse evolve" with the ease that we can reverse engineer the artifacts of purposeful design. The beauty of compounding iterative algorithms (machine learning, evolution, fractals, organic growth, art) derives from their irreducibility.
And what about human social systems? The corporation is a complex system that seeks to perpetually innovate. Leadership in these complex organizations shifts from direction setting to a wisdom of crowds. And this “process learning” is a bit counterintuitive to some alpha leaders: cognitive diversity is more important than ability, disagreement is more important than consensus, voting policies and team size are more important than the coherence or comprehensibility of the decisions, and tuning the parameters of communication (frequency and fanout) is more important than charisma.
The same could be said for urban planning. How will cities be built and iterated upon? Who will make those decisions and how? We are just starting to see the shimmering refractions of the hive mind of human culture, and now we want to redesign the hives themselves to optimize the emergent complexity within. Perhaps the best we can do is set up the grand co-evolutionary dance and listen carefully for the sociobiology of supra-human sentience.
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I first brainstormed about reinventing construction with Astro Teller and Sebastian Thrun when they were forming Google X and looking for the largest markets in the world that look ripe for disruption from advancing information technology and machine learning. The $10 trillion spent each year on buildings certainly qualified, and the global construction industry is growing from 13% of the entire global economy to 15% in 2020. Helix.re became the first Google X spinout, taking a data and software-driven approach to building design and optimization.