View allAll Photos Tagged fractions
Her fragile fractions are worth of a Flemish Master.
We were wondering that day along the pier in Havana - slow afternoon, rather lonely finally we entered the big empty kindergarten playground with futuristic, colorful, sort of late 50's concrete installations. Soon a bunch of kids of different age appear - between them two girls (the oldest of the gang - around 12 - its hard to guess) They were both dress in velvet outfits with this typical Latin permission to identify "night club like" outfit with elegance. They happily posed for us. I do not remember they names.
Explore December 4 - #379 when I saw it. Thanks everyone :-)
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This image is for my special Flickr friend, DMC43, with huge thanks and hugs for her wonderful testimonial~! I was so touched that she could find the time in her whirlwind schedule to honour me in this way. I chose something bright and happy because Donna always makes me smile and gladdens my heart with her sunshine.
DMC43/Donna is a first class photographer and I always look forward to seeing the beautiful images she shares of her world. Her flowers are superb, as most of you will know. They are usually featured in Explore on a daily basis :-)
If you are not already acquainted with Donna's work I highly recommend you visit her stream. Beauty and sunshine are guaranteed :-)
www.flickr.com/photos/dmc_pics_by_me/
(Title quote: Denise Levertov)
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A very receptive state of mind... not unlike a sheet of film itself - seemingly inert, yet so sensitive that a fraction of a second's exposure conceives a life in it. ~ Minor White
"Sick of the sex and the sound of their cars
And saying the words in elliptical bars
Dancing can be such attraction
When everybody is doing the fraction
When I went for a job I had to trade in my hair
And think of ideas in a Larker-Knoll chair
If it wasn't for the blacks in the south
My father's refrigerator factory would close down
Denise is such a dream, let her
Put it in the crutch of her knee, let her
Put it on a couch of... , let her
I feel just like money
I feel just like money
I feel just like money inside
And the women turn blue at around 45
The stupid and the stupid and the infantile
Listen to records with the A-bomb hairstyle
When I went for a job I had to trade in my hair
And think of ideas in a Larker-Knoll chair
If it wasn't for the blacks in the south
My father's refrigerator factory would close down
Denise is such a dream, let her
Put it in the crutch of her knee, let her
Put it on a couch of... , let her
Denise is such a dream, let her
Put it on a couch of... , let her
Put it in the crutch of her knee, let her
You were at the Relais in a shirt and tie
You cut your hair with a scissor at the Hotel Relais
Jealous trees call you 'Denny'
Even the trees seem to whisper 'Denny'
I'll love you till the world stops spinning
I'll love you till the world stops slimming
Doing the radio
People go to parties when they get a white shirt
They listen to records in a shirt and tie
The stupid and the stupid and the meaningless drivel
The stupid and the people and the meaningless lyric
Happening to people when they do their hands and knees
Jealous trees call you 'Denny'
Even the trees seem to whisper 'Denny'
I'll love till the world stops spinning
I'll love till the world stops slimming
Get a car and do the twist
Paint it blue and do the dog
Get a car and do the twist
Twist"...
The Psychedelic Furs - Blacks/Radio...
Blinked for Fractions•
Lightning illuminates memories of Tokyo•
Tokens of sweat and plumage•
Dissolve into laughter lines•
Credited with a sympathetic vote•
Smooth.
The kudos, the kudos.
Hard time up•
Scream the physical form•
That forces itself through these dawn lights•
Neon chased.
And I watch them silently.
Watching this•
Watching each other•
eyes glazed.
Through Tokyo nights•
Astounded•
And amazed.
Nikon F301 + 50mm 1.8
Kodak Portra 400
Hoya/Itorex lens filters, light leak
Unretouched lab scan
ODC Fraction
I am learning about fractals and this is one that I made in Frax. According to the measurement at the bottom of the screen it is 84%. Eighty-four Percent equates to 21/25. Maybe one day I'll figure out what it all means, but until I do I'm having a great time making them!
Sometimes, it's good to feel uncomfortable because it's a small fraction of a glimpse of what others go through all their lives. I was relieved on Tues. night that Alabama didn't elect a pedophile but that was largely thanks to women and men of color who voted for Doug Jones. White people by and large still voted for the pedophile, Roy Moore.
The Women's Rights ancestry in this country has unfortunately a history of wanting rights for white women and excluding women of color. Susan B. Anthony herself was racist even when Frederick Douglass made an effort to reach out to her on a human level. And now, buried in the same cemetery at Mount Hope in the city where I grew up (Rochester, NY), I imagine them comparing notes on the revolution and progression of this country and how we're still held back.
Not all white people but many white people are still holding us back in a big way. They hold us back in the way they vote. They hold us back in their lack of kindness and empathy. They hold us back in how they pander and condescend to minority voters when they need them and throw them out like trash when it comes to actual policies that represent all of their constituents, not just the NRA lobbyists or the corporate billionaires. And, in doing so, they hold the vast majority of Americans back, regardless of race or gender and we all suffer.
I've gone to quite a few protests in my day. I was so excited to move to the big city of Chicago back in 2001 because I wanted to be able to see more bands play and go to more museums and be part of artistic communities. Then, 911 happened and I found myself spending most of my energy protesting the Iraq war. Do you remember My Grief Is NOT a Cry For War? Yeah, I was one of those people and still am. Remember Not in My Name? I still feel that way.
But, as someone who has been to both well attended and poorly attended protests against war, public education budget cuts, and racism, the Women's March of 2017 was a new high for me. I had never seen over 250, 000+ people gathered at the same time all to support women's' rights. And, although the movement may have taken awhile to gain momentum and we've certainly lost so many civil rights with the Trump administration for so many humans, the most recent call to action from women speaking out against sexual abuse, rape, and overall power tripping sexism and misogyny is honestly something I have never before seen in my lifetime. Suddenly, men, even politicians, are starting to be careful of what they say and do....we still haven't hold Trump accountable but I do believe it's coming.
So, I was elated when I walked in the streets with so many women from so many backgrounds in my city, all united with their male friends, fathers, brothers, and partners with them in support last January and I hope that it's even bigger this year because we have some things to celebrate but we also have some things to mourn and work still needs to be done.
But, back to that photo...you know, the photo I was going to tell you about. It's the photo I deleted. The photo was of a Black Woman and she was holding up a sign she had written on and the sign said, in bold letters WHITE WOMEN VOTED FOR TRUMP. She wasn't the only one, either. I read an article about someone seeing this sign at either the same or a different rally. And, while there's an organization called Women For Trump headed by a white woman that for some reason CNN continues to interview, I wanted this day to be about empowerment and about women coming together. I wanted to give Susan B. Anthony the finger. I wanted to taunt her ghost. I wanted to tell her we'd come so far and that race no longer mattered, that women were stronger together, walking the streets.
Susan B. Anthony's ghost continues to laugh in my face. Even worse, I censored myself. I found that same woman in the 7,000+ photos I took during the march but I deleted the shot of her with that sign up because I felt that message was divisive and, to be blunt, it made me really uncomfortable. Why should I feel bad? I didn't vote for Trump! I support many children who are minorities! I give to charity every month! I wouldn't even vote for Hillary Clinton because she called Black People "Super predators" and I didn't want anyone like that in office. So, why should I feel bad? I felt bad because it's true, because I have white shame. And, over the months I've realized that Susan B. Anthony's ghost and I still will continue to spar. I've also come to terms with the fact that I do have white privilege and that it's ok to be uncomfortable and to be depressed because again, think of the men and women who have violence enacted on them every day by the system and by the police because of the color of their skin. My discomfort is laughable.
Tuesday, Susan B. Anthony was laughing again. She was laughing because white women continue to do the wrong thing. They continue to vote for pedophiles and against the progress of this country. The only people who really seem to want a truly great America are people of color and, if I could make a wish it is that we have only women of color in every government office position at every level for the next couple of hundred years. It's their time to be represented/ My guess is that America would be much better for it. We've already seen what the white man will do and it's pretty atrocious...isn't the definition of insanity doing the same thing over and over again and expecting different results? It's time to acknowledge our collective insanity. Even though I believe Russia interfered in our election, we have to acknowledge that there's a racist tumor in the heads of many Americans like a deadly snake and it is making our whole country suffer. There is a partial American flag visible in the top right hand of the frame and that's pretty symbolic because there's only a small fraction of Americans represented by their elected officials at this time.
So, to Susan B. Anthony, I still think Frederick Douglass was the better human than you and, perhaps even more so, Anna Murray-Douglass his wife deserves to be more famous than you ever became as an early civil rights activist.
It's hard to admit our heroes were racist but, then again, we can always get new heroes.
**All photos are copyrighted. Please don't use without permission**
Geologische breuk. De diagonale lijn op de foto verwijst naar de deelstreep van een rekenkundige breuk zoals 1/2.
Er zijn ook een paar nogal ondiepe kolkgaatjes.
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Geological fault. The diagonal line in the picture refers to the division line of an arithmetic fraction like 1/2. The Dutch word ‘breuk’ means both fault and fraction.
There are also some rather undeep kolks.
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Dank voor het bekijken, commentaren, favorieten en kritiek.
Geen verder gebruik zonder mijn uitdrukkelijke toestemming. 砊Thanks for watching, comments, favourites and critique.
No further use without my explicit consent.
Flickr Lounge ~ Fraction
We yearn for the beautiful, the unknown, and the mysterious.
Issey Miyake
Hellebore
Thank you to everyone who pauses long enough to look at my photo. All comments and Faves are very much appreciated
A fraction of the more than 3000 jars that are brought together by Pater De Meyer in his work of art titled Coda. To be seen in Museum Voorlinden in Wassenaar.
A fraction of a second before the Canadian National M337 manifest train hit a small snow drift across the tracks in Eastern Dekalb County, IL
The Flickr Lounge: Fraction
A fraction of the feeder, and we find the rare sight of two hummers eating side by side.
My images are posted here for your enjoyment only. All rights are reserved. Please contact me through my email at: laurietakespix@gmail.com if you are interested in using one of my images for any reason. Web page: laurieabbotthart.com
"La qualité esthétique signifie parler de nuances, quelquefois de fractions d'à peine un millimètre, de graduations très subtiles, ou de l'harmonie et de l'équilibre de plusieurs éléments visuels fonctionnant ensembles."
Dieter Rams
© Blue Perez 2008 all rights reserved.
location | cadiz, spain
photography | blue
prints | available
blogged | here
“It must be admitted that a very large fraction of our time was spent in dressing and undressing. We were forever changing our clothes, a custom that necessitated travelling with a mountain of luggage” – Lady Cynthia Asquith (English writer and socialite)
Wickham Place is the London home of Lord and Lady Southgate, their children and staff. Located in fashionable Belgravia it is a fine Georgian terrace house.
Today we are in Lady Southgate’s dressing room, which is adjunct to her bedroom, where poor Newman, Lady Southgate’s Lady’s Maid, is pulling out her hair with frustration. Lord and Lady Southgate have accepted the invitation to stay with friends at their country house in Worcestershire, and even though it is only a ‘Friday to Monday’ weekend party, there is a panoply of outfits and accountments that Newman must pack for Her Ladyship to wear across those three days.
“What’s the point of coming up to London for the Season if you are going to spend half of it visiting friends at their houses all over the English countryside?” Newman mutters as she looks about her despondently at the mounds of luggage that will need to be neatly filled with Her Ladyship’s clothes.
Lady Southgate’s dressing room is situated on the third floor of Wickham Place. It is light and airy with an east facing window, so it gets the morning sun whilst Newman sets her mistress’ hair each day, and Lady Southgate applies beauty products to maintain her creamy complexion. The dressing room is a feminine preserve and its décor reflects that along with the current fashion for whites and pastel colours in boudoirs. The wallpaper is a fashionable Edwardian pattern of birds, butterflies and pink camellias on a pale green background. Feminine Rococo paintings hang on the walls in antique gilt frames. The room contains light coloured furniture including wardrobes full of her ladyship’s clothes, full length mirrors, a white upholstered settee, several occasional tables, a Japanese floral painted screen, a Chippendale style salon chair upholstered in cream satin and a walnut Regency dressing table: a gift to Lady Southbank from her husband.
This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.
This week the theme, “fur and feathers” was chosen by Margaret, The Pocket Rocket.
Lady Southgate’s trunks ready to be packed with sable stoles and feather adorned picture hats seemed the perfect choice for the theme. However, this upper-class boudoir scene is different, for it is made up entirely of 1:12 size dollhouse miniatures. Some pieces come from my own childhood including the tallboy at the back of the room. Other items in this tableau I acquired as a teenager and as an adult through specialist doll shops, online dealers and artists who specialise in making 1:12 miniatures.
Fun things to look for in this tableaux include:
The three Edwardian picture hats (yes there are three) are what inspired me to photograph this scene for the “fur and feathers” theme. The black hat on the settee I have had since I was a teenager, and it was one of the first 1:12 artisan pieces I ever bought. The green and camel coloured hats in the foreground were a recent acquisition from an American miniatures collector who was divesting herself of some of her collection. All three hats are 1:12 artisan miniatures, are made just like real hats and are often far more expensive than real hats are. When you think that these would sit comfortably on your index finger, yet they could cost in excess of $150.00 or £100.00 each, they are an extravagance. American artists seem to have the monopoly on this skill and some of the hats that I have seen or acquired over the years are remarkable. The black hat is made of woven straw dyed black and decorated with stiffened fans of black lace, black ribbon and feathers. The camel and green hats are both made of braid trimmed felt and are decorated with imitation fruit and flowers and hand dyed and shaped feathers.
The thick sable stole draped across the far end of the tallboy, near the tallboy, is actually a tail attached to one of my own vintage sable collars. I have artfully (with quite some planning and difficulty), placed it so you can only see the single tail, which is just the right size to be a luxurious stole for Lady Southgate!
The blue travelling case in the background and its matching hatbox in the foreground on which the camel hat is sitting are 1:12 artisan miniatures and made of blue kid leather which is so soft to the touch, and small metal handles, clasps and ornamentation. They have been purposely worn around their edges to give them age. The brown leather hatbox in which the green hat sits is also a 1:12 artisan miniature and unlike the blue pieces, it is made to open and be fully functional and has a cream satin lining. All three pieces come from Doreen Jeffries’ Small Wonders Miniatures in England.
The four furled umbrellas are all 1:12 artisan pieces made of silk, satin and lace. Three have metal handles, whilst the yellow lace one is made from a toothpick with a tip affixed to its end. Three come from England whilst the salmon coloured one with the black pagoda top came from the same collection as the camel and green hats.
The grey pair of gloves on the metal inlaid box in the foreground was bought from the same London Doll House stockist that the black hat came from and they were bought at the same time. They are made of leather and are artisan pieces, cut and fashioned by hand with nail scissors. The canary yellow pair of gloves on top of the blue case in the background are also artisan pieces and are made of kid leather and are so light and soft. They come from Doreen Jeffries’ Small Wonders Miniatures in England.
The purple white polka dot mules are hand painted 1:12 lead miniatures that came from the same American collection as the green and camel coloured hats and the salmon parasol. The black Edwardian high boot in the bottom left hand corner is made of resin and comes from a specialist stockist of 1:12 miniatures in England.
On the right-hand side of the picture, sitting on the white Queen Anne style settee, is Lady Southgate’s glittering travelling jewellery case which is hinged, and is lined with black velvet. It contains a sparkling array of her jewels ready for the journey. Draped over the seat of the settee is a sparking “amethyst” necklace made of tiny strung faceted purple beads and a silver chain.
On top of a black portmanteau are two corset boxes: a Baleinine corset from Paris and a Warner Brothers Coraline Health Corset from New York. The corset was an essential beauty aide for any Victorian or Edwardian woman. It was only with the invention of the Flapper in the 1920s, that corsets fell out of fashion. In the late Nineteenth Century, Dr. Lucien Warner, a prominent American physician gave up his practice to begin a new career on the medical lecturing circuit, specializing in women’s health issues. Dr. Warner lectured about the effects of the corset. After seeing how little influence his lectures had on women’s attitudes, he returned to his New York home and began a different approach to fighting the ills caused by the corset. In 1873, he designed a corset that provided both the shape desired by women and the flexibility required to allow some movement and reduce injuries caused by previous designs. The next year, Lucien Warner and his brother Dr. Ira De Ver Warner gave up their medical practices and founded Warner Brothers Corset Manufacturers. Dr. Warner’s Coraline Health Corsets were made up of two pieces of cloth which were laced or clasped together. These revolutionary undergarments also featured shoulder straps and more flexible boning and lateral bust supports made of Coraline, a product of the fibers of the Mexican Ixtle plant. The success of the Warners’ designs had made the brothers millionaires and in 1894 they retired and turned control of the company over to De Ver’s son and the Warner Brothers partnership was changed to a corporation. Warner\'s business was still doing well under the management of Dr.De Var\'s son. He even added new types of corsets: a rust proof corset, a combination corset, and even a hose supporter. In 1913 the company made seven million US Dollars in sales. Then in 1913 Warner Brother\'s bought the patent for the brassier from Mary Phelps Jacobs, and they ended up making twelve point six million US Dollars by 1920.
The black portmanteau on which the two corset boxes sit is in fact a black leather ring box with gold tooling.
In the background is a Chinese screen dating from the 1930s featuring hand-painted soapstone panels of flowers. It is framed lacquered wood and is remarkably heavy for its size. The reverse features Chinese scenes with mountains and pagodas. Next to it stands a 1:12 Dutch tallboy which I bought from Hamley’s Toyshop in London when I was twelve years old. On the far right on a table stands a 1950s Limoges vase filled with pink hydrangeas. The vase is stamped with a small green Limoges mark to the bottom. This treasure I found in an overcrowded cabinet at the Mill Markets in Geelong.
Fractions of a second before impact and you can see that both Rams are definitely anticipating some major impact.
It is prime time right now for the Bighorn Rut in the Canadian Rockies and unfortunately... I am not there this time to be photographing it. Going through some of last years shots during the rut at least keeps me satiated a bit;)
I have refrained from tying my business of photography in with my Flickr account but enough people have inquired about my prints and cards and such that I felt it was time to start including that information here.
If you wish to view/purchase my book or cards (now uploading Christmas Photography Cards) or even check out my website, then check out larsphotography.com and click on Books or Cards.
There is also a link to preview the first fifteen pages of the book as well.
View Large
Il matérialise une fraction Sud du Massif Central à une altitude comprise entre 600 et 1250 mètres. Le Larzac est le plus vaste et le plus méridional de tous. Ses limites naturelles sont souvent nettes et sont représentées par des cours d'eau qui contribuent à son érosion. Il s'étend au Nord-Est bordé par la rivière Dourbie qui le sépare du Causse Noir puis au Nord-Ouest bordé par la rivière Tarn qui le sépare du plateau du Lévézou. A l'ouest il atteint la dépression de Roquefort.
It materializes a portion of South Massif Central at an altitude between 600
and 1250 meters. Larzac is the largest and most southerly of all. His
Natural boundaries are often sharp and are represented by rivers that
contribute to its erosion. It extends north-east bordered by the river which Dourbie
separates the Black Causse and to the northwest bounded by the River Tarn, which separates the
Lévézou plateau. To the west it reaches depression Roquefort.
Domi
Picture the scene: two gigantic black holes, each one a good fraction of the size of our Solar System spiralling around each other. Closer and closer they draw until they touch and merge into a single, even more gigantic gravitational prison.
But what would you actually see? For such a cataclysmic event, it might all take place with remarkable stealth because black holes by their very nature emit no light at all. Rather than light, it would be a different story if our eyes could see gravitational waves.
This is what the merger of two black holes would look like. It is a computer simulation of the gravitational waves that would ripple away from the titanic collision, a bit like the ripples on a pond when a pebble drops into the water.
In the case of gravitational waves, the disturbances are not in water but in the spacetime continuum. This is the mathematical ‘fabric' of space and time that Albert Einstein used to explain gravity.
Gravitational radiation has been indirectly observed but never seen directly. Its detection would open a whole new way of studying the Universe. As a result, astronomers are working on both ground-based and space-based detectors. And it is a real challenge.
Gravitational radiation is incredibly difficult to measure. The ripples cause atoms to ‘bob’ about to just 1 part in 1000 000 000 000 000 000 000. Building a detector to notice this is like measuring the distance from Earth to the Sun to the accuracy of the size of a hydrogen atom.
Following decades of technology development and experiments, detectors on the ground are nearing the required sensitivity. The first detections are expected in the next few years. But these detectors can see only half of the picture. The mass of the colliding black holes determines the frequency of the gravitational radiation.
The merger of small black holes, each about a few times the mass of the Sun, will create high-frequency gravitational waves that could be seen from the ground. But the giant black holes that sit at the heart of galaxies with masses of a million times that of the Sun will generate gravitational waves of much lower frequency. These cannot be detected with ground-based systems because seismic interference and other noise will overwhelm the signals. Hence, spaceborne observatories are needed.
ESA has selected the gravitational Universe as the focus for the third large mission in the Cosmic Vision plan, with a launch date of around 2034.
Unlocking the gravitational Universe will require a highly ambitious mission. In preparation, ESA will launch LISA-Pathfinder this November to test some of the essential technologies needed to build confidence in future spaceborne gravitational wave observatories.
This image is from a simulation of two black holes merging and the resulting emission of gravitational radiation, published by NASA in 2012.
Credit: NASA/C. Henze
www.youtube.com/watch?v=6iGcCWysGK0
'There's a fraction too much friction
There's a fraction too much friction
Holding on the bygone era
Everybody shout cos we're getting nearer
There's a fraction too much friction
What we need is some positive action
What we need is some positive thought'
Tim Finn
The Flickr Lounge-Fraction
We woke to a very cold 19'F but the sun was out...Yay! Took this of Shizandra whilst in repose.
Just a fraction of a second too late to warn TK234 aka Mr. "I'm gonna moon the next person entering this room"...
"I find your lack of pants..... disturbing..."
(why didn't I think of this line - credit goes to Aron - thx!)
More for Brickscalibur :)
The annual feast saw knights from a variety of fractions, all coming together to celebrate the new year, and share a lovely meal together.
Had some fun getting all these figs together and making tables and chairs for everyone...it took a while...haha!
Anyways, hope you like it, take a look at the video for some more closeups youtu.be/w4fyv2H7nJw?si=35J2g1I-i7h6h4Aa
It's done and gifted! This quilt is high school graduation gift for my cousin (continuing a tradition my Grandma started). He liked it.
my design was inspired by this quilt:
Corniglia is a frazione ("fraction") of the comune of Vernazza in the province of La Spezia, Liguria, northern Italy. Unlike the other localities of the Cinque Terre, Corniglia is not directly adjacent to the sea. Instead, it is on the top of a promontory about 100 metres high, surrounded on three sides by vineyards and terraces and the fourth side descends steeply to the sea. To reach Corniglia, it is necessary to climb the Lardarina, a long brick flight of steps composed of 33 flights with 382 steps or, otherwise follow a vehicular road that, from the station, leads to the village. Sometimes a small bus runs up and down here.
Corniglia is a frazione ("fraction") of the commune of Vernazza in the province of La Spezia, Liguria, northern Italy. Unlike the other localities of the Cinque Terre, Corniglia is not directly adjacent to the sea. Instead, it is on the top of a promontory about 100 metres high, surrounded on three sides by vineyards and terraces and the fourth side descends steeply to the sea. To reach Corniglia, it is necessary to climb the Lardarina, a long brick flight of steps composed of 33 flights with 382 steps or, otherwise follow a vehicular road that, from the station, leads to the village. Sometimes a small bus runs up and down here.
The village stretches along the main road, Fieschi Road, and the houses have one side facing this road and the other facing the sea. Corniglia is characterised by narrow roads and a terrace obtained in the rock from which all other four Cinque Terre's villages, two on one side and two on the other, can be seen. The town planning structure presents also original characteristics compared to those of the other villages: the houses are lower set, and only more recently higher, similar to those of the villages of the hinterland.
Corniglia is mentioned in a famous novella of Giovanni Boccaccio's Decameron and in the novel The Invisible Circus by Jennifer Egan.
From Wikipedia, the free encyclopedia