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Depeche Mode - Personal Jesus (The Stargate Mix)
Depeche Mode are an English electronic band that formed in 1980 in Basildon, Essex. The group consists of founders Dave Gahan (lead vocals, occasional songwriter since 2005), Martin Gore (guitar, keyboards, vocals, main songwriter since 1982), and Andy Fletcher (keyboards, bass guitar). Depeche Mode released their debut album Speak & Spell in 1981, bringing the band onto the British new wave scene. Original band member Vince Clarke (keyboards, guitar, main songwriter from 1980 to 1981), left the band after the release of the album, leaving the band as a trio to record A Broken Frame, released the following year. Gore took over the lead songwriting duties and, later in 1982, Alan Wilder (keyboards, drums, bass guitar, occasional songwriter) officially joined the band to fill Clarke's spot, establishing a line up that would continue for the next 13 years. Depeche Mode have been a trio again since 1995, when Wilder left.
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Fantastic book by Casey Reas, Chandler McWilliams, and the design/interactive shop LUST. Backdrop, Casey's Process Compendium 2004-2010.
Forms of Resistance, a two-person exhibition featuring works on paper by Tim McFarlane and Washington, D.C.-based artist, Miguel Rodriguez. The show consists of 20 new works on paper by each artist, with all work produced in 2017.
Reception
Friday, May 5 at 6 - 9 PM
Exhibition Statement: When talking about the “why” behind this show, we made a list of some of the things which drew our interest. We spoke about survival, how it relates to cities, oppression, graffiti being put up, then erased, then put up again. Graffiti as protest art. How the traces of words and marks build up and form a sort of collective language over time. We touched on how that relates to evolutionary biology. How all organisms belong to the same tree of life and contain elements of each other, morphed into endless variety through long periods of adaptation and reproduction over time. How we are derived from microscopic meteor particles, our alien origins. How we dream of life beyond our planet, or wish that we would be rescued. Or how terms like “illegal” aliens take a whole group of people and make them the other. We found ourselves deep into the role of artists in societies, whose free speech and thinking goes against the grain of authoritarian ideologies, and how every mark we make, every painting we realize is a form of resistance.
Tim McFarlane and Miguel Rodriguez
Exhibition
May 5 - May 27
Gallery Hours
Saturdays 11 - 2 pm
ARTIST BIOS
Tim McFarlane is a painter based in Philadelphia, PA. McFarlane’s paintings and works on paper examine the fluid nature of memory, time and place, with an emphasis on color, multi-layered systems and process. A 1994 Temple University/Tyler School of Art graduate, McFarlane exhibited in various group exhibitions around the Philadelphia region before gaining representation with the Bridgette Mayer Gallery in 2002, where he has had several solo exhibitions.
Tim McFarlane has exhibited his work extensively in the U.S. in group exhibitions and featured at art fairs in New York, Miami, Dallas and San Francisco. He has been a visiting artist at several universities, participated in artist panels and has been a juror for exhibitions and grants. McFarlane’s paintings and works on paper reside in numerous private and public collections, including those of West Virginia University, Bucknell University, Temple University, the Hyatt Hotel at the Bellevue and more.
Miguel Rodriguez is a Washington D.C. based painter. He is a graduate of Tufts University/School of the Museum of Fine Arts, Boston, and has shown his work in Philadelphia, Trenton and Boston. He is part of the Earth Issue Artist's Collective, and was interviewed recently for Young Space, an online platform dedicated to emerging artists. His work is included in numerous private collections.
Images left to right:
Miguel Rodgriquez: Ange, 2017, acrylic and collage on paper, 15" x 11"
Tim McFarlane Uncharted (Blue Seas), 2017, acrylic on paper, 15" x 11"
A few days ago I was in doc. Gonzo's lab, in a small village lost over the mountains in the northern Tuscany, to take some photos of him while working on raw wood.
This peaceful protest against the Coalition government's cuts is on the foreshore of the River Thames by the Royal Festival Hall. This photo was taken from the Golden Jubilee Footbridge which runs from Embankment to the Southbank, parallel to the Charing Cross Railbridge (known as the Hungerford Bridge).
Over the years when the Southbank pavements have been repaired, the broken concrete paving slabs were dumped over the wall into the river. The NO CUTS artwork was formed by re-arranging these discarded paving slabs.
The artwork survives successive tides as the heavy slabs embed into the shingle. NO CUTS is visible twice a day for 2 hours either side of "Low Water". Use the EasyTide website to check tide times:
easytide.ukho.gov.uk/EasyTide/EasyTide/ShowPrediction.asp...
Photos of NO CUTS on the foreshore of the River Thames (by the Royal Festival Hall) taken by other people include:
28 Nov 2010: www.flickr.com/photos/loughtonkid/5214804489/
2 Dec 2010: www.flickr.com/photos/unusual_image/5227390139/
9 Dec 2010: picasaweb.google.com/silvia.camporesi/LondonEnglandFall20...
9 Dec 2010: picasaweb.google.com/silvia.camporesi/LondonEnglandFall20...
12 Dec 2010: www.flickr.com/photos/whim/5258291157/
28 Dec 2010: www.flickr.com/photos/maicoweites/5307036142/
28 Dec 2010: www.flickr.com/photos/maicoweites/5307035346/
12 Feb 2011: instagr.am/p/BjBnF/
18 Feb 2011: www.flickr.com/photos/bixentro/5473567670
12 Mar 2011: www.flickr.com/photos/fluxltd/5519661827/
14 Mar 2011: www.flickr.com/photos/pistachechocolat/5530004773/
15 Mar 2011: www.flickr.com/photos/14293815@N05/5528706215/
False Economy is for everyone concerned about the impact of the government’s spending cuts on their community, their family or their job:
Cuts by sector:
Arts and culture:
falseeconomy.org.uk/cuts/sectors/type/arts-and-culture
Benefits and pensions:
falseeconomy.org.uk/cuts/sectors/type/benefits-and-pensions
Children:
falseeconomy.org.uk/cuts/sectors/type/children
Communities and local government: falseeconomy.org.uk/cuts/sectors/type/communities-and-loc...
Defence:
falseeconomy.org.uk/cuts/sectors/type/defence
Disability:
falseeconomy.org.uk/cuts/sectors/type/disability
Economic development and skills:
falseeconomy.org.uk/cuts/sectors/type/economic-developmen...
Education:
falseeconomy.org.uk/cuts/sectors/type/education
Environment and climate change:
falseeconomy.org.uk/cuts/sectors/type/environment-and-cli...
Fire and coastguard:
falseeconomy.org.uk/cuts/sectors/type/fire-and-coastguard
Health:
falseeconomy.org.uk/cuts/sectors/type/health
Housing:
falseeconomy.org.uk/cuts/sectors/type/housing
International development:
falseeconomy.org.uk/cuts/sectors/type/international-devel...
Libraries:
falseeconomy.org.uk/cuts/sectors/type/libraries
Police and justice:
falseeconomy.org.uk/cuts/sectors/type/police-and-justice
Social care:
falseeconomy.org.uk/cuts/sectors/type/social-care
Sport:
falseeconomy.org.uk/cuts/sectors/type/sport
Transport:
falseeconomy.org.uk/cuts/sectors/type/transport
Voluntary sector:
This piece was inspired by previous student work on the Geometric Form project, as well as 3D art that various artists made out of toothpicks. These were in fact the chosen medium; I wanted to work with wood toothpicks proved to be the right size. The concept is essentially a new interpretation of the space lattice created at the beginning of the semester. The simple 180-arc is present, though there are clear differences due to the different media and interpretation. Originally I planned to make cubes out of the toothpicks. but they proved to have too much flexibility, so I made 3-sided pyramids instead; the triangles have much more structural rigidity, and as it turns out, I like the look of the triangles much better. I'm also very happy with the directional movement changes within the piece. As seems to be the case with my projects in this class, if I could change one thing it's that I would make it longer/bigger/more elaborate, if given the time; the piece measures roughly 9x7x5 (depending on which way you stand it up).
Recuperar la forma del relato que da origen a novelas y sentimientos olvidados, efectos estéticos encandilan ante un quiebre sentimental y una suma de adversidades que me llevaron a dejar ciertas prácticas y conseguir un nuevo augurio.
Apropiándome y reanimándome con estímulos no pretendiendo ocultar o disimular esta verdadera personalidad que no surge de la indentidad, sino de las diferencias que exhibo de acuerdo a mis propósitos literarios.
Hoy por hoy el humor es la clave fundamental (aunque no la única) que rememora un pasado parisiense, relaciones rotas o incompletas que allá dejé y que reaparecieron en el vagar de estos días. Es esencial para entender tanta emoción viajar hacia un lugar remoto para expiar una culpa localizada, reconciliarme con tonos tenues desde lo físico a lo espiritual. Ponerme como un gigante desplegando mucha libertad y riéndome de mi misma sin remordimiento ni cuartel. Adaptarme a las circunstancias que vivo y captar la distancia entre la estatura de mis ideales y la modestia de la realidad, entre la riqueza de mis fuerzas y la energía aplastante de la cultura loca. Adoptando un tono cómico, no impidiendo introducir críticas y sarcasmos y momentos de lirismo y melancolía, puesto que la risa y broma no excluyen. La suma de todos estos elementos que proporcionarán quizás un vivir más ágil y desafiante.
I've been studying black and white "fine art" lately. This was a clean white VW beetle sitting in a parking lot catching some pretty white sun. Gave it a shot. Your thoughts?
As formas orgânicas da poltrona Viki sugerem feminilidade. Sua estrutura de madeira aparente e cantos arredondados, com aberturas por onde permeia a luz, proporciona leveza e cria um berço para o estofamento que, generosamente, se apoia e oferece aconchego. Um design que traz claridade para dentro do ambiente.
All the way up the steep hill to the ridge, across the ridge and down into the hollow, it's a man fight, a testosterone measuring and comparison.
But the higher you climb, the deeper you descend, the more you are swallowed. Little by little, it becomes clear that no measure of testosterone and no mass of muscle can compare to what you've entered.
We're but a mere part of this. And even the chasms left in the sides of hills and beneath the tree roots can't be filled by 3 boys measuring their worth with the wrong instruments.
Preciousness is a different measurement altogether.
In the mouth of this voluminous cave, all mouths and hearts are quiet.
Nozeroy est une cité médiévale dans le département du Jura, dans la région Bourgogne-Franche-Comté.
Le puissant et richissime seigneur Jean Ier de Chalon choisit un site de hauteur, défendable à proximité de la route du sel, qui de Salins à Jougne permet les échanges commerciaux et culturels entre le duché de Bourgogne et la Suisse et au-delà entre la Flandre et l'Italie. Jean de Chalon crée alors en 1262 au centre de son domaine jurassien, une forteresse d'où est conduite sa politique et sont administrés ses biens : le château de Nozeroy et sa ville fortifiée.
Unique Forms of Continuity in Space (1913)
Umberto Boccioni (1882-1916)
Bronze sculpture, cast 1972
Boccioni's work was in plaster, never cast into bronze in his lifetime. This cast was made in 1972.
In the early years of the twentieth century, industrialisation swept across Italy. The Futurist movement was founded by writers and artists such as Umberto Boccioni, who enthused about new inventions such as cars and electricity. In Unique Forms of Continuity in Space, the figure is aerodynamically deformed by speed. Boccioni exaggerated the body''s dynamism so that it embodied the urge towards progress. The sculpture may reflect ideas of the mechanised body that appeared in Futurist writings, as well as the ''superman'' envisaged by the philosopher Friedrich Nietzsche
[Tate website]
Okarina in Form eines Würdenträgers, ca. 800 - 900 n. Chr., Fundort Nebaj, Guatemala
Die Figur trägt reichen, federbesetzten Kopfschmuck in Form der 'obersten Vogelgottheit'. Alle Accessoires sind in Maya-Blau bemalt, womit die Figur als hoher Würdenträger ausgewiesen wird. In den Händen hält er zwei Rasseln, was auf eine Tanzszene hinweisen könnte.
____
Oocarina in form of a dignitary, approx. 800 - 900 AD, found at Nebaj, Guatemala
The figur carries a rich head dress with feathers in form of the 'highest bird god". All accessories are painted in Maya blue which indicates that a high dignitary is concerned. The figur is holding two rattles which might refer to a dancing scene.
[order] Passeriformes | [family] Fringillidae | [latin] Fringilla coelebs | [UK] Chaffinch | [FR] Pinson des arbres | [DE] Buchfink | [ES] Pinzón Vulgar | [IT] Fringuello comune | [NL] Vink
spanwidth min.: 25 cm
spanwidth max.: 27 cm
size min.: 13 cm
size max.: 14 cm
Breeding
incubation min.: 10 days
incubation max.: 16 days
fledging min.: 11 days
fledging max.: 18 days
broods 1
eggs min.: 3
eggs max.: 6
Fringilla coelebs
Rí Rua
Whitewing, Chink Chink, Copper Finch
One of Ireland's top-20 most widespread garden birds.
Status: Resident, augmented by winter visitors.
Conservation Concern: Green-listed in Ireland. The European population is regarded as Secure.
Identification: Our commonest finch - found in woodland, farmland, parks and gardens. In winter can form large flocks of hundreds of birds, especially in stubble fields and under beech trees. Male's breast, face and underside a pinkish orange-brown, becoming a darker, wine shade in winter. Nape and crown blue-grey. The female is much greyer, with washed out warm grey underparts. Both sexes display large white patches on otherwise blackish wings, both when perched and flying - this makes Identification very easy even at some range. Longish tail, which shows a dark centre and white outer feathers in flight.
Similar Species: Brambling
Call: Song a loud, full, bubbly string of notes, starting high and descending throughout, ending with a flourish resembling a wolf whistle. The song is repeated many times. Call a loud "pink" and in flight a subdued short, mellow whistle.
Diet: Mainly seeds, split grain, beechnuts. Feeds young on insects. Will visit bird tables and feeders.
Breeding: Breeds throughout Ireland - mainly in or near woodland, but also in parks and gardens. Nest, of moss and dried grass - often camouflaged with lichens and cobwebs, in a fork near end of branch.
Wintering: Widespread.
Where to See: Common and widespread throughout Ireland.
Physical characteristics
Noticeably long, medium-sized, and rather elegant passerine, epitomising its family but actually sharing its general character with only two congeners. At all ages and in both sexes, plumage pattern dominated by contrasting white panels on leading wing-coverts, buff-white wing-bar on secondaries and inner primaries, and striking white outer tail-feathers which show well on perched bird and twinkle on flying one. Eurasian male shows more colors than any other west Palearctic finch, with blue-grey crown, pale red to pink face and body, and mainly black ground to white wing and tail markings. Female and guvenile much more sober, with dusky olive-brown head and upperparts and dusky white underparts showing little pattern. Wings and tail duller than male's but show similarly striking marks. Song and several calls distinctive. Sexes dissimilar, some seasonal variation.
Habitat
Breeds in west Palearctic in temperate wooded areas, from Mediterranean and marginally steppe zones up to boreal, and in places to edge of tundra, usually occurs within shifting climatic boundary, beyond which Brambling replaces it to the north. Basically arboreal, and in breeding season occupies deciduous, mixed, and coniferous woods and forests, at densities varying greatly according to their species composition.
Other details
Fringilla coelebs is a widespread breeder across most of Europe, which constitutes >50% of its global range. Its European breeding population is extremely large (>130,000,000 pairs), and was stable between 1970-1990. Although there were slight declines in France and Sweden during 1990-2000, populations were stable across most of the rest of Europe-including the key one in Russia-and the species remained stable overall.
This finch inhabits a major part of Europe and northern Asia. It has several island races in the archipelagos of the Balearic and Canary islands. The race ombriosa, endemic to El Hierro in the Canaries, is the most threatened because its population is very small and strictly dependent on native pine (Pinus canariensis) forests
Feeding
Mainly seeds and other plant material, in breeding season mainly invertebrates. Seeds taken generally on ground, notably freshly-turned soil, not direct from plant, except in shrubs and trees, feeds with rapid pecking action unsuited to removing seeds from herbs or grasses, flower or seed-head simply being knocked away.
Apprezzo la cioccolata perchè
lei è l'unica che sostituisce la mancanza di ciò che è impossibile da sostituire.
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Obsidian in the Pleistocene of Wyoming, USA.
Obsidian is a glassy-textured, extrusive igneous rock. Glassy-textured rocks have no crystals at all. They form by very rapid cooling of lava or by cooling of high-viscosity lava. Most obsidians form by the latter. Obsidian can be felsic, intermediate, mafic, or alkaline in chemistry. Most are felsic to intermediate.
A famous locality in North America is Obsidian Cliff at Yellowstone, Wyoming. It is a Pleistocene-aged lava flow with the chemistry of rhyolite (= a light-colored, felsic, aphanitic, extrusive igneous rock). The cliff itself shows columnar jointing, which formed by cooling and contraction. The rocks principally range from black-colored, aphyric rhyolitic obsidian to partially devitrified rhyolitic obsidian. Lithophysae are sometimes present. Extremely small, microscopic crystals are present - they can be seen in thin sections. Some samples are reported to have small olivine phenocrysts. Small clusters of crystals, composed of plagioclase feldspar, pyroxene, and olivine, are sometimes present.
Many of the whitish-colored spots and bands running through most Obsidian Cliff rock samples are areas of devitrification. Glass is unstable on geologic times scales and it slowly crystallizes. The light-colored spots and bands are now non-glassy. Spotted, partially devitrified obsidian is known by the rockhound term "snowflake obsidian" (see: www.flickr.com/photos/jsjgeology/16561606417). The spots are composed of silica (SiO2), but are not quartz. Rather, they are composed of a polymorph of quartz - cristobalite.
Why does Obsidian Cliff here not look black and glassy? The rocks are weathered, partially devitrified, and considerably lichen-covered. Classic, black, glassy obsidian can be seen in some of the boulders along the road.
Stratigraphy: Roaring Mountain Member, Plateau Rhyolite, Upper Pleistocene, ~59 ka
Locality: Obsidian Cliff, eastern edge of Obsidian Creek Valley, Yellowstone National Park, northwestern Wyoming, USA
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Age & some lithologic info. from:
Wooton (2010) - Age and Petrogenesis of the Roaring Mountain Rhyolites, Yellowstone Volcanic Field, Wyoming. M.S. thesis. University of Nevada at Las Vegas. 296 pp.
checking that the tube is bent at the right angle
Visit at the Reynolds factory by Witcomb Cycles - 24 January 2008