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art, wooden box, 1696 terrestrial planisphere map, washers, letters, pin, vintage beads, wasp nest, assemblage, wire, found object, etsy
4 7/8" X 5 3/4" X 13/8"
Zaha Hadid: Form in Motion at Philadelphia Museum of Art. Video at VernissageTV: vernissage.tv/blog/2011/09/30/zaha-hadid-form-in-motion-p...
Form Date Expired. This was a test photo. O'Bannon still slows up as O':Bann0n, Kentucky, United States. FLICKR engineers are working on it, so they say. Location matters.
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Paige competed in her first competition shortly after achieving her first level green belt. I was certain that she was at a disadvantage, but she still came away with two medals. After having seen her progress to third level green belt, I was sure that this competition she would clean house. It turns out that her adversaries had gained in experience as well.
This competition, Paige competed in three different activities. The first was for her form. The form had changed recently and she was slow to master the new moves. She had earned her stripe (a piece of tape at the end of her belt showing achievement within the rank) for her form just a week earlier. But when it comes to her form, Paige is meticulous. She is conscious of every nuance. And in the end, she brought her "A Game" and earned a gold medal.
For sparring, Paige was a very strong competitor. Perhaps too strong. In her traditional approach to sparring, Paige went full throttle against her challengers. This works sometimes, but she has yet to learn to wait and be patient for the right striking opportunity. One of her opponents merely stood with one of her legs extended, and Paige would walk into it every time while attacking. This is a point, and in the end Paige did not get a medal for sparring.
The third part of the competition Paige competed in was board breaking. At one time, this had been a strong area for Paige. Perhaps because she didn't know any better. "You want me to hit that board and break it? Cool." Over time however she has learned that executing the techniques incorrectly can be particularly painful. We were hoping that she'd regain her confidence in the competition setting, but in the end she couldn't break the board, and didn't earn a medal.
So only one medal for this competition - a gold medal though, in Paige's favorite part, technical form.
We went out to Moore's Crossing last night with Adri's sister Miranda and WhiteHotPheonix! It was a blast meeting Gabe and Amanda for the first time they are very Fun to hang out with!
SOOC
Tributes, in the form of English Heritage-style blue plaques, pay homage to two significant characters in the history of Reading Football Club.
Roy Tranter was a Director of the Club in the 1980s and successfully resisted the newspaper tycoon Robert Maxwell's attempt to merge the club with Oxford United to become the Thames Valley Royals. Instead he persuaded local businessman John Madejski to become Chairman, a move which transformed the fortunes of the Club. He was also president of STAR, the Supporters Trust At Reading, who erected this tribute following his death in the Royal Berkshire Hospital in 2008.
Maurice Evans joined Reading FC in 1952 as a 16-year-old groundsman, but soon became a player of note and went on to play as a wing-half, achieving an enviable record of 459 first team games without ever being booked. In 1957 he was voted the best right-winger in pool to decide Reading FC's 'best-ever eleven'. He returned to Reading as Assistant Manager in 1974, becoming Manager in 1977 until 1984 and gaining the Manager of the Year Award for 1978-1979. After several roles at Oxford United he rejoined Reading FC in 1999 as Chief Scout, but sadly died of a heart attack in 2000. The 1871 on the plaque refers to the year of Reading FC's foundation.
Madejski Stadium opened in August 1998, replacing Elm Park as the home of Reading FC. London Irish RFC moved here in 2000 as part of a ground share agreement.
Plastic forming products coming down the assembly line.
Image released under Creative Commons. Use on any site you wish - please attribute to IndustrialTraffic.com
Former German Luftwaffe WWII Bunkers in Skanderborg forest,
Denmark
De Tyske Luftwaffe Bunkere i Dyrehaven ved Skanderborg.
Bois d'Arcy, le 1er mars 2010 - Christine LAGARDE, ministre de l'Economie, de l'Industrie et de l'Emploi et Christian ESTROSI, ministre chargé de l’Industrie ont inauguré la plate-forme industrielle du courrier de Bois d'Arcy, dotée d'équipements de tri et de distribution les plus modernes d'Europe. "Un jour de célébration" pour Christine LAGARDE qui a rappelé que La Poste est le "service public préféré des Français".
© MINEIE - Ph Ricard
www.economie.gouv.fr/christine-lagarde/ministre-economie-...
Sandrail (not dune buggy) tour thanks to SandLand Adventures, Florence, OR
At first, I thought the front tires looked rather stylized and could not possibly have a practical design, but seeing how the three ridges just cut into the sand, i was pleasantly proved wrong that the engineering of these tires is a perfect blend of form and function.
Covering some 31,000+ acres, The Oregon Dunes National Recreation Area (or NRA) is located on the Oregon Coast, stretching approximately 40 miles (60 km) north from the Coos River in North Bend, to the Siuslaw River, in Florence. The NRA is part of Siuslaw National Forest and is administered by the United States Forest Service. The dunes adjoin Honeyman State Park.
The Oregon Dunes are a unique area of windswept sand that is the result of millions of years of wind and rain erosion on the Oregon Coast. These are the largest expanse of coastal sand dunes in North America.
"Forms Derived from a Cube"
etchings and aquatints, 1982
"LeWitt arrived at each composition in this cycle of complex images by imagining lines connecting various points on a cube and then mentally slicing through the volume to create voids demarcated by those lines. Economically articulated in just four shades of gray, the resulting series of forms walks the line between optical illusion and mind-bending game."
from the Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art, San Francisco California (sooc)
Visualization of smoke from west coast fires flowing across the continental United States, and banging into hurricanes that form walls the smoke cannot pass. Color/processing variant.
Image source: earthobservatory.nasa.gov/images/147293/a-meeting-of-smok...
Original caption: In September 2020, historic wildfires on the U.S. West Coast lofted plumes of smoke high into the atmosphere. Pushed by prevailing winds that sweep air from west to east, satellites tracked the smoke as it spread widely across much of the continental United States. A second hazard—tropical cyclones—also helped steer the high-flying smoke plumes as they streamed over the Midwest and Northeast between September 14-16, 2020.
The series of images above shows the abundance and distribution of black carbon, a type of aerosol found in wildfire smoke, as it rode jet stream winds across the United States. The black carbon data comes from the GEOS forward processing (GEOS-FP) model, which assimilates information from satellite, aircraft, and ground-based observing systems. The Visible Infrared Imaging Radiometer Suite (VIIRS) on the NOAA-NASA Suomi NPP satellite acquired the images of the storms.
As Hurricane Paulette churned in the Atlantic Ocean on September 14, the storm’s circulating winds likely helped keep the skies around the storm mostly clear. By September 15, the smoke had begun to encounter the outer edge of Paulette, whose presence helped steer smoke around the northwestern side of the storm. By September 16, the remnants of Paulette had moved northeast, closer to Newfoundland, clearing the way for the smoke plume to extend eastward unimpeded.
While satellite maps like this show smoke spanning the entire United States, that does not mean the smoke had equally strong effects on air quality at ground level everywhere. While people living in communities near the fires in California and Oregon faced very unhealthy and hazardous air quality between September 14-16, surface air quality in the eastern U.S. remained mostly good. That is because the smoke was traveling high in the atmosphere, explained Santiago Gassó, an atmospheric scientist at NASA’s Goddard Space Flight Center.
Data from a ground-based lidar sensors that are part of NASA’s Micro-Pulse Lidar Network (MPLNET) measured smoke over Greenbelt, Maryland, at a height of 7 to 9 kilometers (4 to 5 miles) on September 14. According to Ryan Stauffer, another atmospheric scientist at Goddard, the smoke layer sank closer to 3 kilometers (2 miles) a few days later as it traveled around a long area of relatively high atmospheric pressure, a meteorological feature known as a ridge.
While layers of smoke can cause atmospheric cooling and have important effects on clouds in some circumstances, meteorologists do not think the smoke had much of an impact on Hurricane Paulette. Hurricanes derive most of their energy from the sea and the lower atmosphere, but in Paulette’s case the smoke layer was likely too high to influence the storm’s energy source much.
“We can’t completely rule out an impact, but given the extratropical transition of Paulette that was also happening, any impact from the smoke would have been quite small,” said Scott Braun, a research meteorologist at Goddard. “If the smoke had been at low levels, there probably would have been an impact—possibly a weakening of the storm,” he said.
NASA Earth Observatory images by Joshua Stevens, using GEOS-5 data from the Global Modeling and Assimilation Office at NASA GSFC and VIIRS data from NASA EOSDIS/LANCE and GIBS/Worldview and the Suomi National Polar-orbiting Partnership. Story by Adam Voiland.
This was taken at a sculpture garden in a estate called Grande Provence, Franschhoek, Cape Town, South Africa.
Phnom Bakheng (Khmer: ប្រាសាទភ្នំបាខែង) at Angkor, Cambodia, is a Hindu temple in the form of a temple mountain. Dedicated to Shiva, it was built at the end of the 9th century, during the reign of King Yasovarman (889-910). Located atop a hill, it is nowadays a popular tourist spot for sunset views of the much bigger temple Angkor Wat, which lies amid the jungle about 1.5 km to the southeast. The large number of visitors makes Phnom Bakheng one of the most threatened monuments of Angkor. [1] Since 2004, World Monuments Fund has been working to conserve the temple in partnership with APSARA.
Constructed more than two centuries before Angkor Wat, Phnom Bakheng was in its day the principal temple of the Angkor region, historians believe. It was the architectural centerpiece of a new capital, Yasodharapura, that Yasovarman built when he moved the court from the capital Hariharalaya in the Roluos area located to the southeast.
An inscription dated 1052 AD and found at the Sdok Kak Thom temple in present-day Thailand states in Sanskrit: "When Sri Yasovardhana became king under the name of Yasovarman, the able Vamasiva continued as his guru. By the king's order, he set up a linga on Sri Yasodharagiri, a mountain equal in beauty to the king of mountains."[1] Scholars believe that this passage refers to the consecration of the Phnom Bakheng temple approximately a century and a half earlier.
Surrounding the mount and temple, labor teams built an outer moat. Avenues radiated out in the four cardinal directions from the mount. A causeway ran in a northwest-southeast orientation from the old capital area to the east section of the new capital's outer moat and then, turning to an east-west orientation, connected directly to the east entrance of the temple.[2]
Phnom Bakheng is a symbolic representation of Mount Meru, home of the Hindu gods, a status emphasized by the temple’s location atop a steep hill. The temple faces east, measures 76 meters square at its base and is built in a pyramid form of six tiers. At the top level, five sandstone sanctuaries, in various states of repair, stand in a quincunx pattern—one in the center and one at each corner of the level’s square. Originally, 108 small towers were arrayed around the temple at ground level and on various of its tiers; most of them have collapsed.[3]
Jean Filliozat of the Ecole Francaise, a leading authority on Indian cosmology and astronomy, interpreted the symbolism of the temple. The temple sits on a rectangular base and rises in five levels and is crowned by five main towers. One hundred four smaller towers are distributed over the lower four levels, placed so symmetrically that only 33 can be seen from the center of any side. Thirty-three is the number of gods who dwelt on Mount Meru. Phnom Bakheng's total number of towers is also significant. The center one represents the axis of the world and the 108 smaller ones represent the four lunar phases, each with 27 days. The seven levels of the monument represent the seven heavens and each terrace contains 12 towers which represent the 12-year cycle of Jupiter. According to University of Chicago scholar Paul Wheatley, it is "an astronomical calendar in stone." [4]
Phnom Bakheng is one of three hilltop temples in the Angkor region that are attributed to Yasovarman's reign. The other two are Phnom Krom to the south near the Tonle Sap lake, and Phnom Bok, northeast of the East Baray reservoir.
Following Angkor's rediscovery by the outside world in the mid-19th century, decades passed before archeologists grasped Phnom Bakheng's historical significance. For many years, scholars' consensus view was that the Bayon, the temple located at the center of Angkor Thom city, was the edifice to which the Sdok Kak Thom inscription referred. Later work identified the Bayon as a Buddhist site, built almost three centuries later than originally thought, in the late 12th century, and Phnom Bakheng as King Yasovarman's state temple.
Forms of Nature #8
digital collage
by Kenneth Rougeau
The eighth image in the new "Forms of Nature" series of digital collages I'm currently constructing. Prints are available in my Etsy store (artfamilia). At present, I'm planning several individual pieces and at least one triptych for the set. More to come soon!
Even outside of the casting basin, the pontoon construction site buzzes with activity. In this photo, a carpenter prepares a wooden concrete form to be used on the third cycle of pontoons built in Aberdeen, Washington. Photo taken March 14, 2013.
Construction is complete on the second cycle of SR 520 bridge pontoons in Aberdeen. In this cycle, crews built six total pontoons:
• Three longitudinal pontoons (360 ft. x 75 ft. x 29 ft.)
• One cross pontoon (270 ft. x 75 ft. x 33 ft.)
• Two supplemental stability pontoons (98 ft. x 60 ft. x 28 ft.)
Parametric design - the size of the opening transform while different parameters are input... This research can be used in Facade design...
Contractors place forms around reinforcing steel before pouring concrete. The idea is to stiffen the bridge supports to better withstand an earthquake.
Opal is a stone of inspiration which enhances the imagination and creativity as well. It helps one release inhibitions and enhances the memory.
Panel in the Form of a Sarcophagus Door
Tang dynasty (618-907), early 8th century
Probably from Shaanxi Province
Limestone
Rogers Fund, 1920 (20.89)
**
The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
Une rivière souterraine, puis l'érosion marine ont formé une arche naturelle et une aiguille haute de 55 mètres, morceau relique de la falaise. Maurice Leblanc la décrit en ces termes : « Roc énorme, haut de plus de quatre-vingts mètres, obélisque colossal, d'aplomb sur sa base de granitNote » dans L'Aiguille creuse, 1909.
À son époque déjà, le site attirait de nombreux touristes parmi lesquels des « lupinophiles », admirateurs d'Arsène Lupin : des étudiants américains venus chercher la clé de la grotte, où le « gentleman cambrioleur » avait retrouvé le trésor des rois de France. Le film Arsène Lupin de Jean-Paul Salomé, sorti en octobre 2004, offre de nombreuses vues sur la falaise et l'Aiguille.
Zwei Tonlampen in Form von Gladiatorenhelmen.
Links ein Murmillo oder Thraex Helm des zweiten bis dritten Jahrhunderts.
Das Punktmuster entspricht der Fischschuppenähnlichen Verzinnung des echten Helmes:
www.flickr.com/photos/40060535@N05/galleries/721576229692...
Rechts ein Secutor Helm.
Die Verstärkung um die Augenlöcher ist aufwendig verziert.
Two lamps formed like Gladiator helmets.
The left one is a 2nd-3rd AD Murmillo or Thraex helmet.
The dotet surface resembles the tinned "fishscales" of the real helmet:
www.flickr.com/photos/40060535@N05/galleries/721576229692...
Right a Secutor helmet.
The reinforcement around the eyeholes is elaborately ornamented