frequency photos on Flickr

Annette Weintraub - One Text, Many Stories [URBAN MEMORY LOSS: a Nightmare of Change in which Time is Inscribed in Space or How a Text Became a Story] - Estados Unidos | United States

Apokalipso: Rafael Gomes, Áthila Benites, Sávio Oliveira, Leandro Caro, Natanael Andrade, Fernando Gavronski & Fernanda Ferreiro – Senmorta – Brasil | Brazil

Bam Studio - Estudio de Animação Barros Melo: Leonardo Domingues – A sorte – Brasil | Brazil

Bam Studio - Estudio de Animação Barros Melo: Marcio Vieira – Mundo mudo - Brasil | Brazil

Bam Studio - Estudio de Animação Barros Melo: Filippe Lyra & William Paiva – Voltage - Brasil | Brazil

boredomresearch: Vicky Isley & Paul Smith – Lost Calls of Cloud Mountain Whirligigs (View 2, Right & Left) - Reino Unido | United Kingdom

Brad Todd - film noir – Canadá | Canada

Bruno M. Rocha, Camilo S. Lima, Caroline V. Costa & Daniela Bissoli - WIRESCAPES_simulação transversa de uma condição de metrópole - Brasil | Brazil

Calin Man - Have a Nice Click - Romênia | Romania

Caterina Davinio - The First Poetry Space Shuttle Landing on Second Life – Itália | Italy

Céline TROUILLET - Song No. 9 – França | France

Céline TROUILLET - Song No. 11 – França | France

Chris Coleman - The Magnitude of the Continental Divides – Estados Unidos | United States

Christin Bolewski - Shan-Shui-Hua – Alemanha | Germany

Coletivo Vertigem: Juliana Rodrigues, Natalia Santana & Ygor Ferreira - Repensando a Obra de arte repensada, Eu Tu Ele, Nós, Vós, Eles ou Labirinto Flutuante – Brasil | Brazil

Daito Manabe & Motoi ishibashi - Pa++ern – Brasil | Brazil

Danilo Guimarãres - (L) anos de Brasília! – Brasil | Brazil

David Clark, Marina Roy & Graham Meisner - Sign After The X - Canadá | Canada

Eric Schockmel - Occupation: Movement I (Syscape#4) - Reino Unido | United Kingdom

Fernanda Antoun - Um, Dois! Um, Dois! - Brasil | Brazil

Fundamental Research Lab: Robert B. Lisek – NEST – Polônia | Polony

Gabriela Golder – RESCATE – Argentina | Argentina

hint.fm: Fernanda Viegas & Martin Wattenberg – Fleshmap - Estados Unidos | United States

Hyun Ju Song - NOTHING IS FINISHED - Alemanha | Germany

Ivan Henriques – ReLandscaping - Holanda - Netherlands

Jason Nelson - Evidence of Everything Exploding - Austrália | Australia

Jonathan Monaghan - French Penguin - Estados Unidos | United States

Juliana Yamashita - Metro Tracks - Brasil | Brazil

Kevin Evensen – Danses - Estados Unidos | United States

Kika Nicolela – Flickering - Brasil | Brazil

Kristoffer Ørum, Anders Bojen, Rune Graulund, Maja Zander, Kaspar Bonnén, Stig W. Jørgensen, Palle R Jensen, Ida Marie Hede Bertelsen, Peter Rasmussen, Kasper Hesselbjerg, Ulrik Nørgaard, Daphne Bidstrup, Andreas Pallisgaard & Kristian Haarløv - Radiant Copenhagen - Dinamarca | Denmark

lemeh42 - Inner Klänge – Itália | Italy

Leonardo Uehara - An interactive sound tale - Brasil | Brazil

Martin John Callanan - I wanted to see all the news from today - Reino Unido | United Kingdom

Maya Watanabe – ABRASIS – França | France

Michael Takeo Magruder - Data_plex (economy) - Reino Unido | United Kingdom

Michael Takeo Magruder - Data_sea - Reino Unido | United Kingdom

Michele Barker & Anna Munster - Duchenne's Smile - Austrália | Australia

Miriam Thyes - Global Vulva - Alemanha | Germany

mitumBACK: Coelestine Engels, Markus Hafner & Christof Berthold – mitumBACK - Áustria | Austria

moddr: Gordan Savicic, Walter Langelaar & Danja Vassiliev - Web 2.0 Suicidemachine - Holanda - Netherlands

Não se Cale!: Amanda Miyuki de Sá, Danilo Polo Cain, Douglas Ferreira Neto, Fábio Henrique Alves Will, Patrícia Hitomi Nakazone, Talles Marques Duarte - NÃO SE CALE: A VIOLÊNCIA CONTRA A MULHER A PARTIR DAS PROPOSTAS FOTOGRÁFICAS DE BARBARA KRUGER – Brasil | Brazil

Nicholas Knouf – MAICgregator - Estados Unidos | United States

Nicole Kenney & KS Rives - Before I die I want to - Estados Unidos | United States

Nicole Stenger – DYNASTY - França | France

Osvaldo Cibils - 300x300artsport - Itália | Italy

Owen Eric Wood – Holobomo - Canadá | Canada

Owen Eric Wood – Parallel - Canadá | Canada

OZCAN TURKMEN - ENTROPIC POETRY - Turquia | Turkey

Pipol - TV Cronópios - Brasil | Brazil

Rachelmauricio – towtom - Brasil | Brazil

Rachelmauricio – TexET - Brasil | Brazil

Rachelmauricio - NO_HAHAB - Brasil | Brazil

Regina Pinto – AlphaAlpha - Brasil | Brazil

Regina Pinto - DAVID DANIEL'S 200+ HUMANS BEINGÈD HYMN TO HUMANITY - Brasil | Brazil

rgb3000 - superfreedraw.com - Alemanha | Germany

Richard O'Sullivan – Monitor - Reino Unido | United Kingdom

Richard O'Sullivan - Broken Windows - Reino Unido | United Kingdom

Roderick Coover – Canyonlands - Estados Unidos | United States

Roderick Coover - SOMETHING THAT HAPPENED ONLY ONCE - Estados Unidos | United States

Rosa Menkman - Glitch Studies Manifesto - Holanda - Netherlands

Rui Filipe Antunes - Senhora da Graça - Reino Unido | United Kingdom

Sally Grizell Larson – Axiom - Reino Unido | United Kingdom

Sergio Sotomayor - Madera (Wood) - Espanha | Spain

Silvia Laurentiz - Poesias Digitais: Projeto Percorrendo Escrituras - Brasil | Brazil

Spot - Dreams In High Fidelity II - Estados Unidos | United States

Stanza – Sondcities - Reino Unido | United Kingdom

Stuart Pound - Dance 0-19 - Reino Unido | United Kingdom

Stuart Pound - She's not there - Reino Unido | United Kingdom

Stuart Pound - Bus Stop version 2010 - Reino Unido | United Kingdom

Stuart Pound - Not you again! - Reino Unido | United Kingdom

Stuart Pound - Oh no, not you again! - Reino Unido | United Kingdom

Stuart Pound - Sticky Pixels - Reino Unido | United Kingdom

Susanne Berkenheger - The Last Days of Second Life - Alemanha | Germany

Tchello d'Barros - "Convergências" | "Convergences" - Brasil | Brazil

Tim Webster - Wonderlands: Machu Picchu - Austrália | Australia

Tina Velho - Tão longe...tão perto - Brasil | Brazil

Trace Sanderson aka Lainy Voom & Tamara Russel aka Gala Charron - Virtual Build Archive (VBA) - Reino Unido e Estados Unidos | United Kingdom and United States

Tuvalu Vizualization Project: Hidenori Watanave, Makiko Suzuki & Shuichi Endou - Tuvalu Vizualization Project - Japão | Japan

UBERMORGEN.COM - SUPERENCHANCED GENERATOR - Áustria | Austria

UBERMORGEN.COM - UGI - UNIVERSAL HEALTH - Áustria | Austria

VJ Eletro-I-MAN - Projeto Representa Corisco - Espanha | Spain

Wilton Azevedo, Rita Varlesi & Savana Pace – Atame: a Angústia do Precário - Brasil | Brazil

ZAO – hearts - Brasil | Brazil

HIPERSÔNICA PARTICIPANTES | HYPERSONICA PARTICIPANTS

++CAYCE POLLARD coletivodeartecomputacional; Nicolau Centola e Fabrizio Poltronieri - A Night in São Paulo - Brasil | Brazil

4propri8 - Junglow Drift - Brasil | Brazil

all your gardening needs – Arranco - Brasil | Brazil

Basavizi: André Damião Bandeira, Fernando Visockis & Sérgio Saad - HID - Human Improvisation Delight - Brasil | Brazil

Berger Rond - Stairs of Unsteady - Canadá | Canada

Carlos Dohrn - x → y - Brasil | Brazil

Carol Robinson – BILLOWS - França | France

Claudio Parodi - The Mother of All Feedback - Itália | Italy

Daniel Gazana - MISTÉRIO MUDO - Brasil | Brazil

Daniel Gazana - RE-CONNECT - Brasil | Brazil

Daniel Gazana - THE KINGDOM OF THE STEEL PORTAL - Brasil | Brazil

Danilo Rossetti - Metropolis parte 1 - Brasil | Brazil

Debashis Sinha - The Bell Garden - Canadá | Canada

Edilson Cardoso - Hâhnio - Ruídos para Filmes de Horror B - Brasil | Brazil

Eduardo Patrício - Electric Talk M.M.S. - Brasil | Brazil

Edwin Lo - Auditory Scenes: The other side of Tides in Limbo - China | China

Emanuele Battisti - Electrode - Study on Pink Noise N.1 - Itália | Italy

Felipe Kirst Adami - Piano Harm - Brasil | Brazil

Franklin Valverde – Sonóricos - Brasil | Brazil

Graeme Truslove - Divergent Dialogues - Reino Unido | United Kingdom

Graeme Truslove – Concrètisations - Reino Unido | United Kingdom

Graeme Truslove – Portals - Reino Unido | United Kingdom

Graeme Truslove – Elements - Reino Unido | United Kingdom

Gustavo Alfaix - (en)treses - Brasil | Brazil

John Young – Lamentations - Reino Unido | United Kingdom

Kunkuni Mix Project: Rosa Apablaza & Federico Duret - Posible Objetivo Patera - Holanda | Netherlands

Minusbaby - Subversive Motives in Chip Music or The 8bitpeople's party - Estados Unidos | United States

Ocp – Rejects - Portugal | Portugal

Panayiotis KOKORAS - Contruct Synthesis - Grécia | Greece

PAULO GUICHENEY - rec on struction - Brasil | Brazil

Philip Mantione - Dialtone and Strings - Estados Unidos | United States

Regina Porto - Metrópolis São Paulo - Brasil | Brazil

Rohan De Livera – Haiku - Sri Lanka | Sri Lanka

Secret Axis Sonic Collective: Vanderlei Lucentini, Kojiro Umezaki, Yann Novak, Manrico Montero, Terjen Paulsen, Adam Tindale, Scott Smalwood, Zbgniew Karkowski & Hangchul Ki - Secret Axis - Brasil | Brazil

SIMPLE.NORMAL: CLEBER GAZANA – CONSTRUCT - Brasil | Brazil

Sol Rezza - 25 segundos de vida - México | Mexico

The Tiny Orchestra - THE LANGUAGE OF WAITING - Canadá | Canada

Túlio Falcão - Túlio Falcão apresenta: a música de Enrorlando di Falcus - Brasil | Brazil

Vanessa Rossetto - Dogs in English Porcelain - Estados Unidos | United States

Victor Valentim – Estralactides - Brasil | Brazil

HIPERSÔNICA SCREENING – HYPERSONICA SCREENING

Daniel Gazana - MAN-MACHINE-TIME - Brasil | Brazil

Eduardo Raccah – EY - Alemanha | Germany

Fernando Velázquez - SP, automata landscape - Brasil | Brazil

Jaap: Harriet Payer Anderss, Jorge Esquivelzeta - Sound of this City - México | Mexico

Pink Twins - Defenestrator - Finlândia | Finland

Roberto Doati – Sindrome scamosciata - Itália | Italy

Rodrigo F. Cadiz - ID-FUSIONES - Chile | Chile

Sandra Crisp – Oceanics - Reino Unido | United Kingdom

Soundsthatmatter – skinstryment - Brasil | Brazil

Soundsthatmatter – bwavssh - Brasil | Brazil

Soundsthatmatter – soundstrain - Brasil | Brazil

FILE MAQUINEMA | FILE MACHINIMA

Andrzej Kozlowski aka CapKosmaty - Apocalypsis Ex Machinima - Polônia | Poland

Annie Ok - My life as an avatar (03-10) - Estados Unidos | United States

Annie Ok - My life as an avatar (04-08) - Estados Unidos | United States

Annie Ok - My life as an avatar (06-08) - Estados Unidos | United States

Basile Vignes aka Tutsy Navarathna - To Each one his own Dreams - Índia | India

Basile Vignes aka Tutsy Navarathna - Vegetal Planet - Índia | India

Berardo Carboni aka Finally Outlander – Volavola - Itália | Italy

Bernard Capitaine aka Iono Allen - The story of Susa Bubble - França | France

Chantal Gerads aka Chantal Harvey - A Woman´s Trial - Holanda | Netherlands

Corndog & Oil Tiger Machinima Team - War of Internet Addiction - China | China

Daniel Wasiluk aka Surgee - The Demise - Polônia | Poland

Egils Mednis aka Demoplay - The Ship - Letônia | Latvia

Elise Carlson aka Lyric Lundquist - Cradle and Trap - Estados Unidos | United States

Elise Carlson aka Lyric Lundquist - Cyberspace is Vast - Estados Unidos | United States

Elise Carlson aka Lyric Lundquist - Sideways Time - Estados Unidos | United States

Elizabeth Pickrd aka Liz Solo - The Death of an avatar - Canadá | Canada

Harrison Heller aka Nefarious Guy & Amorphous Blob Productions – Clockwork - Estados Unidos | United States

Iain Friar aka IceAxe – Clockwork - Reino Unido | United Kingdom

Iain Friar aka IceAxe – Embers - Reino Unido | United Kingdom

J. Joshua Diltz - Six Days - Estados Unidos | United States

James Thorpe aka Blackace - Daddy is Home - Reino Unido | United Kingdom

Les Riches Douaniers: Gilles Richard & Fabrice Zoll - Chevauchée Nocturne - França | France

Les Riches Douaniers: Gilles Richard & Fabrice Zoll – Kamikaze - França | France

Luca Lisci aka Voom – Prometheus - Itália | Italy

Luca Lisci aka Voom - The Blue Planet - Itália | Italy

Luca Lisci aka Voom - Valentina 'Riflesso' - Itália | Italy

Mark Capell aka Hardy Capo - Control Point - Reino Unido | United Kingdom

Miguel Moreira aka Hadj Ling - The Black Chant - Portugal | Portugal

Pineapple Pictures: Kate Fosk & Michael Joyce – Voices - Reino Unido | United Kingdom

Piotr Kopik - Big Psomm 2 - Polônia | Poland

Rob Wright aka Robbie Dingo - Watch the world(s) - Reino Unido | United Kingdom

Sam Goldwater aka Lorka - The Monad - Reino Unido | United Kingdom

Simone Schleu aka Sisch - Saving Grace - Alemanha | Germany

Simone Schleu aka Sisch – Transient - Alemanha | Germany

The Do Group: Clemens Fobianke aka Cisko Vandeverre - Der Erlköning - Alemanha | Germany

The Do Group: Clemens Fobianke aka Cisko Vandeverre - Der Handschuh - Alemanha | Germany

Tobias Lundmark aka Dopefish & Malu05 - Among Fables and Men - Suécia | Sweden

Tom Jantol - Brief Encounter - Croácia | Croatia

Tom Jantol - Wizard of OS: The Fish Incident - Croácia | Croatia

Tony Bannan aka Ammo Previz - Folie à Deux - Austrália | Australia

Trace Sanderson aka Lainy Voom – Fall - Reino Unido | United Kingdom

Trace Sanderson aka Lainy Voom – Postcard - Reino Unido | United Kingdom

Trace Sanderson aka Lainy Voom – Push - Reino Unido | United Kingdom

Van Aerden & Nicolas Bonne – Metabup - França | France

Van Aerden & Nicolas Bonne - Transbup (Trailer) - França | France

Vivian Kendall aka Osprey Therian - Alazi Sautereau - Estados Unidos | United States

Vivian Kendall aka Osprey Therian - Virtual Reality in the Future - Estados Unidos | United States

Zachariah Scott - Jill´s song - Estados Unidos | United States

GAMES

Alexandre Machado | 44 Bico Largo - Robo Sucata - Brasil | Brazil

Behold Studios | Buraco de Bala - Luna - Magnetoware Adventures - Brasil | Brazil

Eddy Boxerman & Dave Burke – Osmos - Canadá | Canada

Elias Holmlid, Dmitri Kurteanu, Guy Lima Jr. & Stefan Mikaelsson – Continuity - Suécia | Sweden

Erik Svedäng - Blueberry Garden - Suécia | Sweden

Florian Faller & Adrian Stutz – Feist - Suíça | Switzerland

Grupo Yellow Jam: Luciano José Firmino Júnior, Luiz José Barbosa de Moura Souza, Rafael Valle Barradas & Heloise Dantas Oliveira - Last Hope - Brasil | Brazil

Guilherme Bischoff, Francesco Sciamarella, Cauê Madeira & Evandro Valente | Kidguru Studios – Lumaki - Brasil | Brazil

Jairo Margatho | Overplay - Night Life - Brasil | Brazil

Joannie Wu & Lee Byron – Fireflies - Estados Unidos | United States

Kokoromi & Polytron - super HYPERCUBE - Canada | Canadá

Leonardo Arantes | Isis Interactive Graphics - Freestyle Challenge - Brasil | Brazil

Luiz Gerosa | Interama - Esther Art Gallery - Brasil | Brazil

Paulo Biagioni – Mutualismo - Brasil | Brazil

Philip Mangione - Chameleon Puzzle Runners - Brasil | Brazil

Q-Games - PixelJunk Eden - Japão | Japan

Rafael Fernandes | TecToy Digital - Vovó a solta - Brasil | Brazil

Rob Jagnow – Cogs - Estados Unidos | United States

Steph Thirion – Eliss - Portugal | Portugal

Tales of Tales – Vanitas - Belgica | Belgium

Tiago Fernandes | TecToy Digital - Dragon vs Heroes - Brasil | Brazil

Tiger Style Games - Spider: The Secret of Bryce Manor - Estados Unidos | United States

Tyler Glaiel – Closure - Estados Unidos | United States

Petri Purho - Crayon Physics Deluxe - Finlândia | Finland

INSTALAÇÕES | INSTALLATIONS

Andrew Hieronymi - Virtual Ground - Estados Unidos | United States

Corby & Baily, Jonathan Mackenzie - Southern Ocean Studies # 1.0 - Reino Unido | United Kingdom

Electronic Shadow: Naziha Mestaoui & Yacine Aït Kaci – SuperFluidity - França | France

Ernesto Klar - Luzes relacionais (Relational Lights) - Estados Unidos e Venezuela | United States and Venezuela

Guto Nóbrega – Breathing - Brasil | Brazil

Jarbas Jácome – Vitalino - Brasil | Brazil

Jeraman & Filipe Calegario - Marvim Gainsbug - Brasil | Brazil

Jonas Bohatsch - v+ - Áustria | Austria

Jörg Piringer - abcdefghijklmnopqrstuvwxyz for iPhone - Áustria | Austria

Jorge Luis Crowe - 2x (Power of two) - Argentina | Argentina

José Luis de Vicente, Irma Vilà & Bestiario - Atlas of Electromagnetic Space - Espanha | Spain

Keiko Takahashi & Shinji Sasada - Diorama Table - Japão | Japan

LEMUR: League of Electronic Musical Urban Robots & Eric Singer - LEMUR GuitarBot II - Estados Unidos | United States

Luo, He-Lin & Chen, I- Chun - Light Calligraphy - Taiwan (R.O.C.) | Taiwan (R.O.C.)

Markus Decker, Dietmar Offenhuber & Ushi Reiter - From Dust Till Dawn - Áustria | Austria

MARS: Media Arts Research Studies: Monika Fleischmann & Wolfgang Strauss – Mediaflow - Alemanha | Germany

Muk - disc.o - Áustria | Austria

Multitouch Barcelona: Dani Armengol, Roger Pujol, Xavier Vilar & Pol Pla - Hi! A real human interface - Espanha | Spain

Myrto Karanika & Jeremy Keenan – Strings - Reino Unido | United Kingdom

Pierre Proske - Frame Seductions - França e Austrália | France and Australia

Rachel Zuanon & Geraldo Lima – BioBodyGame - Brasil | Brazil

Raquel Kogan – Reler - Brasil | Brazil

Ricardo Barreto, Maria Hsu & AMUDI: Núcleo de Arte e Tecnologia da Escola Politécnica de Engenharia da USP: Breno Flesch Franco, Daniel Augusto Azevedo Moori, Erica Usui, Guilherme Wang de Farias Barros, João Flesch Fortes, Leandro Molon e Nadia Sumie Nobre Ota – feelMe - Brasil | Brazil

Ricardo Brazileiro – METROBANG - Brasil | Brazil

Rob Seward - Death Death Death - Estados Unidos | United States

Robert Mathy - Light Frequency Fingertips - Áustria | Austria

Sebastian Schmieg - Roy Block - Alemanha | Germany

SWAMP: Douglas Easterly, Matt Kenyon & Tiago Rorke – Tardigotchi - Nova Zelândia | New Zealand

Yacine Sebti - Jump! - Bélgica e Marrocos | Belgium and Morocco

PERFORMANCE

27/07

Minusbaby (Richard Alexander Caraballo) - Subversive Motives in Chip Music, or The 8bitpeoples' Party - Estados Unidos | United States

Celia Eid, Sébastien Béranger & Amilcar Zani – Dislocations - Brasil | Brazil

28/07

Jaime E Oliver LR - Silent Percussion Project - Peru | Peru

Panetone - Short lived like a butterfly - Brasil | Brazil

29/07

HEARTCHAMBERORCHESTRA - TERMINALBEACH: Erich Berger [Áustria e Finlândia | Austria and Finland] & Peter Votava [Áustria e Alemanha | Austria and Germany]

30/07

MooM: Dino Vicente & Bill Meirelles - Câmara Secreta - Brasil | Brazil

Ricardo Carioba - dáblio (w) - Brasil | Brazil

DOCUMENTA

27/07

Gustavo Godinho & Vladimir Cunha - Brega S/A- Brasil | Brazil

Claudio Mojope - Talk o Meu Coração ZunZunZunTV - Brasil | Brazil

28/07

Andreas Johnsen & Rasmus Poulsen - Man Ooman (Man Woman) - Dinamarca | Denmark

Fenton Bayle & Randy Barbato - Party Monster: The Shockumentary - Estados Unidos | United States

29/07

João Wainer & Roberto T. Oliveira – PIXO - Brasil | Brazil

Otávio Donasci - 30 Anos de Vídeocriaturas - Brasil | Brazil

30/07

Andreas Johnsen - Good Copy Bad Copy - Dinamarca | Denmark

Robert Baca & Joshua Rizzo - Welcome to Macintosh - Estados Unidos | United States

It's no secret, but ... by Bill Smith

5 2

your receiving mechanism isn't tuned for that particular frequency.

frequencies by Liis Roden

5 5

Frequency by Charlyn Wee

8 16

Frequency by tim Chrepta

5

Frequency DBL One by Jason Hummel

4 5

Published Images Gallery

Jason Hummel Photography

alpinestateofmind.com

cascadecrusades.org

On Facebook www.facebook.com/pages/Tacoma-WA/Jason-Hummel-Photography...

heater-frequency by Jerry Norbury

2

March 3rd

Greenhouse heater "on" frequency

frequencies by Brooke.Butler

5

RNLN Bon Accord & Fugro Venturer - Aberdeen Harbour Scotland - 4/6/2018 by DanoAberdeen

3

FUGRO

M.V. FUGRO VENTURER

New generation geophysical & hydrographic survey vessel designed for performance, safety and efficiency.

Fugro Venturer, is the newest evolution of Fugro’s Standard Survey Vessels (FSSV series) built specifically to meet multi-role geophysical survey standards.

The suite of survey equipment includes analogue sensors comprising of hull mounted single and multibeam echo sounders, state of the art sub bottom profilers, a hull mounted Edgetech CHIRP profiler and 2 x 12 cubic inch mini air gun

array and an Edgetech dual frequency 4200

FS digital sidescan sonar.

In complement to this, the vessel is also mobilised with a Hydroscience SeaMUX digital system, comprised of a 1200m HTI solid digital streamer and seismic source of 152 cubic inches, although larger sources and streamers may be mobilized subject to client requirements.

Precise subsea positioning of survey equipment is achieved

EQUIPMENT FLYER via a hull-mounted HiPAP 502 USBL

system. Dual Rx / Dual Swath EM2040 and

a Deep Water EM302 MBES system is fitted to an acoustically efficient gondola.

A 20t traction winch is fitted below decks that

offers sampling in up to 3500m water

depth.

The design of the vessel permits simultaneous analogue/digital survey operations and the capability to also

conduct AUV, ROV, Environmental and Shallow Geotechnical surveys.

The vessel houses a permanent AUV deployment Hangar and is capable of hosting a multitude of ROV platforms.

General

Name M.V. Fugro Venturer

Classification GL+100 A5 E1 BWM(D2) Special Purpose Ship,

Research Vessel, GL+MC E1 AUT DP 1 EP-D

Owner Fugro

Built Q2 2017

Port / Flag Panama

MMSI No. 311 000 463

Call Sign C6CG3

IMO No. 9769051

Dimensions

LOA 71.5m

Beam 15.4m

Draught 5.6m

Tonnage GT 2455

Accommodation

Cabins 34 single en-suite, 4 double ensuite

Hospital 1 single berth

Offices 2 clients office

Recreation 2 x lounge / video, 1 x gym, 1 x cinema

Machnery

Bow Thruster 1 x 600 kW (electric)

Cruising Speed 10 knots

Maximum Speed 12 knots

Electrical Power

Auxiliary Generators N/A

Generators 2 x 1175 KVA, 2 x 972 KVA CAT Leroy Somer

Capacities

Fuel Capacity 464 m3 (35 operational days at sea)

Fuel Consumption 211 g/KWh at 100% load (pending sea trial

measurements)

Water Capacity 185 m3

Water Making 10 m3/day

Provisions 90 days

Control and Navigation

Autopilot Schottel Co-pilot Simrad AP80

DP System Kongsberg KPOS and cJoy

2 x Radars Sperry S-Band & Sperry X-Band

2 x Electronic Chart TransasNS4000

2 x DGPS Saab R5

1 x Gyro Sperry Navigat X MK1

Deck Machinery

Deck Crane 2 x SWL 5.0 t /12 m crane

Hydraulic A Frame 1 x SWL 20t, 1 x SWL 7.5t, 1 x SWL 3t

Launch Boom 1 x SWL 2.5t and 1 x SWL 1t traversing

Deepwater Sampling lift/log

winch (PCPT)

3,500m 20t lift and 1,400m

Communications

MF / HF (2x) Sailor 6000 series

Inmarsat C (2x) Sailor 6110 mini

VHF (4x) Sailor 6222

UHF(4x) Motorola DM2600

V-SAT 1 x KU band Seatel 6012

CCTV Hernis

Safety

Rescue / MOB Boat 6.1m 6 pers rescue boat

Lift Rafts (200%) 4 x 25 person

Survival Suits (100%) 42 pcs

Lift Jackets (200%) 100 pcs

Work Vest 12 pcs

Fire Detection Funa MD9800

Survey Equipment

DGPS Positioning Starfix HP / XP and Starfix Spot

Acoustic Positioning Kongsberg HiPAP 502, 2 Poles available

Motion Reference Unit MRU5+, MGC R3 INS

Echo Sounder Kongsberg EA600

Multi Beam Echo Sounder Kongsberg EM302 and EM2040 Dual Rx

Sound Velocity Probe 2 x Valeport Midas SVX2

Side Scan Sonar Edgetech 4200 FS

Sub Bottom Profiler Hull mounted Edgetech CHIRP Profiler,

2 x 12 cu inch mini guns

Magnetometer Geometrics G-882 Magnetometer

Hydrophone Steamer SES 24 Element Mini Streamer

Digital Logging GLOG / GPLOT

Seabed Sampling 3 / 6m Gravity Corer, Grab Sampler,

3 / 6m Piston Coring

Digital Seismic Recording Hydroscience Technologies NTRS2 240 ch

Streamer HTI Seamux gel filled 6.25m / 12.5m

Gun Controller RTS Hotshot

Depth Controller Digicourse 5010 & 5011

Source Arrays 6 x Sercel Mini G Guns, 152 cu inch array

Network Several 10G Bass T

Compressor 4 x Hamworthy compressors

Geotechnical Capability Roson CPT, Coiled rod CPTs, Piston Corer,

Gravity Corer

Environmental Capability Box corer - several options can be mobilised

Corers - several options can be mobilised

ROV Capability Several ROV options can be mobilised

Absolute Respect to the crews who man lifeboats, like all the emergency services they put their lives at risk when required , as you can see from the crew in this photo , all young people with their lives in front of them , maybe some are mothers and fathers yet ready to attend when that distress signal is activated, hero's each of them .

Aberdeen currently has two Lifeboats on Station, the all weather lifeboat is the Severn Class RNLB Bon Accord and the inshore lifeboat is the D Class RNLB Margaret II.

RNLB Bon Accord was introduced to Aberdeen as the city’s new lifeboat in July 2000, taking over from RNLB Mickie Salvesen, the 52ft Arun Class Lifeboat, formerly of Kirkwall.

Her £1.8 million cost was met through generous donations and bequests and also from a massive fund raising campaign, started by the then Lord Provost of Aberdeen, Margaret Farqhuar, across the city throughout 1999 – 2000.

RNLB Bon Accord is the third lifeboat to be stationed at Aberdeen, bearing the Bon Accord name.The previous two Bon Accords were built in 1853 and 1875 and stationed at Footdee and the harbour as the Beach and Harbour Lifeboats until 1924.

The name Bon Accord comes from the motto of the City of Aberdeen’s Coat of Arms. The phrase was used in the 14th century as a password by King Robert the Bruce as he and his men laid seige to Aberdeen Castle and killed the English Garrison, retaking Aberdeen for the townspeople.

Aberdeen Lifeboat carries a crew of 6 and, if required, a Doctor. She is moored afloat, as all Severn Class Lifeboats are, and she has a range of 250nm at full speed.

RNLB Bon Accord is powered by two 27 litre twin turbo intercooled Caterpiller 3412 DITA engines which deliver 1250hp each at 2300rpm. She carries 1200 gallons of diesel in her bunkers and burns, at full speed, 2 gallons of diesel per minute.

Last Prime frequency by Mark

5 4

We know that all Prime numbers, after 2 and 5, end with either a 1, 3, 7 or 9 as their last digit.

If we look at the frequency of individual last digits we can see that 1, 3, 7, or 9 more or less occur at a similar frequency. However, as soon as we look at the frequency of the same last digit occurring twice in a row, we find that this is far less common and even less common for the same last digit occurring three times in a row.

Kannan Soundararajan and Robert Lemke-Oliver produced a paper in March 2016 on this apparent bias which received considerable attention in mathematical journals www.quantamagazine.org/mathematicians-discover-prime-cons.... If you really want to dive into the maths, the full paper can be found here arxiv.org/pdf/1709.06168.pdf .

West Coast Motors Y80WCM by David Walker

8

Y80WCM is seen departing Buchanan Bus Station on the long haul service to Campbeltown on the 926 which was relaunched with brand new tri-axle Scania Irizars in late 2011 along with a frequency increase.

G4-74 russian frequency generator by mashpriborintorg

8 1

Labels are written in german because it was exported to former East-Germany...

Frequency separation by Rense Posthumus

12 1

Frequency by Mun Keat Ho

6 23

I found this old gem in a flea market near Ipoh old town couple of weeks back. Pretty cool retro looking radio though and it's still in pristine condition. Wonder if it's still working as the original box and user manual are still intact.

View On Black

GodsBBF aka Felix by obstesser

5

A former Halo buddy, now a friend.

Felix at the backstage bar, Frequency 2012.

Flailing Frequency by Neil Randell

3

AI167 Photoshopped, Photoshop.

Frequency. by Kaiden Blake

8 2

可聴周波 audio frequency by Birthmark of mas

4

New frequency 0010 by fore_alley

3 2

Pre-concert Party Starts @ 4PM SLT by Maise Blu Ravenwood

3

🎃 👻 Happy Halloween!! 🎃 👻

Live DJ JAZZ & SMEXY MAISE will rock you with a pre concert party starting at 4PM SLT. Then wrap up this great weekend with Rob Zombie at The Frequency. Great rock from All Day, Rob Zombie to wrap it all up at 6PM SLT. Bring your friends and have a Spooktacular Time. Brought to you by Havok Entertainment and The Frequency.... maps.secondlife.com/sec.../The%20Frequency/167/131/23

Alien frequency by (fiona) thank you for your visit

13

Nixie Clock in a General Radio Audio Frequency Microvolter Type No.546-0 (front view) by Mister Biggs

6

Nixie Clock in a General Radio Audio Frequency Microvolter Type No.546-0

Nixie clock from www.tubeclock.com

Video at www.youtube.com/watch?v=d3XJWrnKugQ

Lost Frequency by Cathy Neth

4

36/365: lost frequency

everyone is walking on the edge of life

like a ghost of a shadow, barely alive

even time’s in a rush

but it’s going nowhere

everyone’s connected but no one is connecting

the human element has long been missing

tell me, have you seen it?

have you seen it?

Portfolio | thedook.com |

365 Photo Project | thedook.com/365 |

fb | fb.com/cnethphotography |

ig | instagram.com/cneth_photography |

Pitch frequencies by Abdenour Khelifi

1

Beno Graphics

Frequencies by Julien Léonard

Generative pattern

American Toad Call - visible frequency by Steven Johnson

4

An American Toad call creates ripples in Maggie's Pond

Frequency hopping by US Air Force

3

Senior Airman Dustin Harris, left, and 1st Lt. John Day, center, discuss radio frequencies with a Soldier assigned to the 82nd Airborne Division during an exercise in frequency hopping at Fort Bragg, N.C. Frequency hopping is changing regular frequencies during transmission, a radio operation technique that ensures secrecy and protects against communication channel jamming. Day and Harris are tactical air control party members with the 14th Air Support Operations Squadron. (U.S. Air Force photo by Airman 1st Class Alexander W. Riedel)

MV ARMORIQUE (IMO 9364980) AIS Vessel Type: Ro-Ro/Passenger Ship_Call Sign: FMLW (MMSI:228263700) Brittany Ferries - Bretagne Angleterre Irlande SA by The Shaldives

1

IDENTIFICATION

Ship Name: ARMORIQUE

IMO Number: 9364980

MMSI:228263700

Bureau Veritas Register Number:09677V

Call Sign:FMLW

Type & service: Ro-ro passenger ship

Owner:BRITTANY FERRIES - BRETAGNE ANGLETERRE IRLANDE SA.

Connecting District: BREST (BRT)

Flag: France

Port of Registry: MORLAIX

DIMENSION

Gross Tonnage 69: 29,468

Net Tonnage 69: 11,605

Deadweight: 4,200 ton

Overall Length: 165 m

LPP: 155 m

Breadth: 26.8 m

Draught: 6.5 m

Freeboard:1,611 mm

HULL & CARGO

Builder: STX Finland Oy

Country of build: FINLAND

Date of Build: 26 Jan 2009

Yard N°: 1362

Hull Material: Steel

Number of Cont. Decks: 1

11, Machinery Aft

TANKS LBC:98,010

Fuel Capacity:787.5 m³

MACHINERY

Propelling Type: Diesel

Licence: MAK

Date of Build: 07 Nov 2007

Builder: MAK

POWER AND RATING

Total Power (kW): 24,000 kW

Total Power (HP): 32,608 HP

PROPELLING MACHINERY

Internal Combustion Engine:(2) 4T - 12 cyl - 43.00 cm x 61.00 cm at 500 rpm

BOILERS

Boiler:2 CHR 381.00 m² / 9.70 bar,2 CHO 41.00 m² / 9.70 bar

ELECTRICAL INSTALLATION

Frequency: 50 Hz

Diesel Generators: 1 - 900 kVA - 720 kW - 1630 HP,2 - 1440 kVA - 1152 kW - 1630 HP

PROPELLERS AND PROPELLERSHAFTS

Propelling system:: 2 Screw Propeller Controllable pitch LB 10.00 at 153 rpm

SPEED OF THE SHIP: 23 kn

Optical frequency reference by Jeff Sherman

10 6

It may just be a hunk of glass, but it is actually the most exciting bit of technology I've added to the lab during my stay.

Machined out of ULE (ultra-low expansion) glass, this special design of Jun Ye and Mark Notcutt at JILA (Colorado) could very well turn our 2051 nm Tm,Ho:YLF laser into a one-Hertz wide Monster of Coherence.

How does it work?

Its length, kept extremely constant, defines a set of Fabry-Perot fringes at fixed frequency which are used in a feedback loop to narrow the linewidth and cancel the drift of a noisy laser.

How is the length kept so constant?

First, the material is chosen to have a coeffecient of thermal expansion of zero a few degrees above room temperature. This temperature is found experimentally and then heavily regulated. Passive control is maximized by surrounding the cavity with an aluminum heat shield, and mounting it on insultating teflon rods in a vacuum chamber kept well below 10^-9 Torr (all shown here). The chamber itself will be housed in an insulated aluminum box which is temperature controlled to about 1 mK.

Second, all that passive sheilding goes a long way in reducing the coupling of vibrations on the floor and table into the cavity which would otherwise compress and expand the cavity's length dynamically, impacting any laser locked to it.

Third, the key innovation is the fact that the cavity is vertically supported at the exact midplane: there is an equal amount of mass above the supports as is below (to a percent or so). It turns out that vertical shocks will therefore not, to first order, change the bore length.

What's the bottom line?

Custom machined glass and an optical coating run: $14,000.

Vacuum components and an ion pump: $2,000.

A handful of optics and detectors: $1,200.

Building one of the narrowest lasers in the world: Priceless.

Frequency・振動数 by Matthias Lambrecht

3

Location: St. Luke's Garden, Tokyo, Japan.

Gear: Fujifilm X-T1 + Fujinon XF 55-200mm

Processing: Lightroom 5.5 + VSCO Film

Lost Frequencies by Mrs Dott

1

Frequency by ASEugenio

3

Radio towers on Mount Wilson, Los Angeles, CA.

CATALYST INC AND THE THOMPSON GRAVING DOCK [QUEENS ISLAND BELFAST]-151284 by William Murphy

3

If you wish to visit this area the Belfast Glider G2 service offers two suitable stops [halts] known as Catalyst and Thompson Dry Dock. To the best of my knowledge the frequency is every fifteen minutes during normal business hours..

Based on a 24-acre site, Catalyst Inc. is at the heart of Northern Ireland’s hi-tech economy.

A graving dock, or dry dock, is an enclosed basin which can be flooded allowing a ship to be floated in, then drained to allow it to rest on blocks for maintenance or repair. Typical use of dry docks were for the cleaning, removal of barnacles and rust, and re-painting of ships' hulls. Queen’s Island is home to three graving docks, all of which survive today.

Catalyst Inc (formerly known as the Northern Ireland Science Park) was established in March 1999 to create a self-sustaining, internationally recognised, knowledge-based science park in Northern Ireland offering a commercial and research driven centre for knowledge-based industries. The park is located in the Titanic Quarter, Queen's Island, Belfast and hosts a range of international and local technology related companies. It currently has six buildings in operation offering 210,000 square feet (20,000 m2) of workspace. Over 3,000 engineers, researchers, entrepreneurs and executives work in Catalyst Inc campuses in Belfast, Derry and Ballymena.

The Science Park was initially conceived under the 1998 Good Friday Agreement, which designated funding for such a park in Northern Ireland. The not-for-profit NISP Foundation was founded in 1999 by the University of Ulster and Queen's University Belfast (with both Vice Chancellors, Gerry McKenna and George Bain being founding board members), along with representatives of the business community. Most initial funding came from UK government economic initiatives, with the intention that the park would become self-sustaining. It was planned that the 24-acre (97,000 m2) Queen's Island site would eventually be occupied by twelve buildings, including an Innovation Centre for small tech firms and start-ups, the Queen's University Institute for Electronics, Communications and Information Technologies, as well as larger companies and light manufacturing firms.

Glider G2 services link the city centre to Titanic Quarter. It operates as a continual loop passing Belfast City Hall, and allowing travel between the Odyssey, Titanic Building and surrounding areas. Stops are located at St George's Market (May Street), City Hall (May Street), Wellington Place, Chichester Street, Custom House Square, Odyssey, Titanic, Thompson Dry Dock and Catalyst Inc.

Illogical Frequencies by Carlo Pontoriero

11 1

Manicomio - Girifalco - Italia

Terry #542 by Bob Dein

18 3

This picture is #542 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page

Terry is originally from Kentucky, but spent 10 years all over Florida in the construction industry. He is now disabled and uses a cane. He has back pain that shoots into his legs. The very next day Terry was to have surgery for permanent placement of a 'pain pacemaker.' I asked if he was scared. He was not, because he had a temporary unit for trial, and it worked.

For the trail, a catheter with electrodes was inserted into the spinal canal. He held a device that controlled the frequency of electrical pulses. Sure enough, he was able to find the right frequency, and got great relief. Now a permanent device will give him remote control of the frequency. Living better electronically.

As if that weren't enough, his left pupil is permanently dilated. Terry was “Jumped” by two hoods who stole his bike, and ruined his eye in the process.

I showed Terry his image on the LCD. He liked it!

“Wow, ain't that a handsome dude!”

“Would you like me to e-mail the image to you?”

“Naw, don't have e-mail. I'm a computer turd. Not a nerd, a turd.”

Thank you, Terry, for allowing me to photograph you for the 100 Strangers Flickr group.

Frequency by Joseph Yi

6

Look at that intense concentration!

frequency by rhythmkun

5

My Frequency by Roscoe Robson

11 4

Before I feel in love with photography music played a big part in my life, it still does now but only in the background when I'm working on photos :) so this self portrait was special for me in the sense of combining the two.

Myers-Briggs Frequency visualization by Peter Forret

1 1

cf web.forret.com/tools/mbti.asp

Lockheed Martin Advanced Extremely High Frequency by Lockheed Martin

1

Lockheed Martin’s sixth Advanced Extremely High Frequency (AEHF-6) protected communications satellite is encapsulated in its protective fairings ahead of its expected March 26 launch on a United Launch Alliance Atlas V rocket. AEHF-6 is part of the AEHF system -- a resilient satellite constellation with global coverage and a sophisticated ground control system -- that provides global, survivable, protected communications capabilities for national leaders and tactical warfighters operating across ground, sea and air platforms. The anti-jam system also serves international allies to include Canada, the Netherlands, United Kingdom and Australia.

0perating Frequency by Jeff Anderson

23 2

www.lookingglasscreamery.com/

Pentax LX SMC PENTAX-M 1:1.7 50mm Adox HR-50 LegacyPro EcoPro 1+1 03/31/2024

frequency by Jerome Olivier

10 4

“If you want to find the secrets of the universe, think in terms of energy, frequency and vibration.”

Nikola Tesla

up: 2016/01/10

Frequency Festival 2014 by Radio Soundportal

Frequency Festival 2014

Australia Pavilion on Opening Day - Expo 88 by Queensland State Archives

1

Image source: Queensland State Archives Item ID ITM1102501 Expo 88 opening day crowds outside the Australia Pavilion, Brisbane.

World Expositions (or Exhibitions) become increasingly popular after the 1851 Great Exhibition in London, but their frequency, and the standard of their facilities, was not regulated until after the 1928 Paris Convention on International Expositions. The Bureau International des Expositions (BIE) was established in 1931 to administer the Convention. Under BIE rules there are two types of international exposition: the Universal/Category A/General Exposition, and the International/Category B/Special Exposition. The former involves broad themes, and participants design their own pavilions from the ground up, based on the theme.

The International Exposition, which has a narrower theme, is much cheaper to host, and is usually limited to one branch of human endeavour. Participants rent prefabricated pavilions from the host country's committee. Brisbane's Expo 88 was an International Exposition, with the theme "Leisure in the Age of Technology". Most of the structures built on exposition sites are intended to be temporary, but some sites have become parks, incorporating surviving exposition elements, including the sites of Montreal 1967, Seville 1992, Taejon 1993, and Lisbon 1998. Some structures have gone on to become landmarks in their own right, such as the Royal Exhibition Building (Melbourne 1880), the Eiffel Tower (Paris 1889), and the Space Needle (Seattle 1962).

The first bid to bring an exposition to Brisbane in 1988 began with James Maccormick , the architect who had designed the Australian pavilions at Montreal 1967, Osaka 1970, and Spokane 1974. The Brisbane Chamber of Commerce was converted to the idea, and lobbied the Queensland State Government during 1977. However, the Queensland Government was worried about the cost of a Universal Exposition, and was preoccupied with its bid for the 1982 Commonwealth Games. A second Queensland bid was made in 1981. The Australian Bicentennial Authority (ABA), under John Reid, wanted an Universal Exposition in Australia as part of Bicentennial in 1988, and the Federal Government was prepared to fund half of the cost of an exposition in Melbourne or Sydney. However, when these states turned the offer down in January 1981, Reid approached the Queensland Government with a proposal for a cheaper International Exposition. In late 1981 the State Cabinet funded a study that identified South Brisbane as the preferred site. The State Cabinet approved the study on 5 November 1981, on the condition that the Federal Government share the capital costs, but Prime Minister Malcolm Fraser rejected this notion in December 1981.

Queensland made two more attempts in 1982 for an International Exposition. Frank Moore, Chairman of the Queensland Tourist and Travel Corporation (QTTC), believed that private enterprise could fund the exposition, and that it would benefit Queensland's tourism. Queensland's Premier Joh Bjelke-Petersen asked Prime Minister Fraser to get the BIE to keep a slot open for Brisbane in 1988. Fraser was willing to support this proposal, so long as there was no Federal financial commitment. However, Queensland private enterprise was not forthcoming, and Bjelke-Petersen withdrew the proposal in April 1982. November of 1982 witnessed a renewed bid by the State Government. The State would lend money to a statutory authority, which would be tasked with buying and developing the land, and managing the exposition. Brisbane's application was sent to the December 1982 meeting of the BIE in Paris, and was approved in June 1983.

The Brisbane Exposition and South Bank Redevelopment Authority (BESBRA) was established in February 1984 by an Act of the Queensland Parliament. BESBRA was soon referred to in the media as the Expo 88 Authority, or the Expo Authority. Sir Llewellyn Edwards, the Deputy Premier, was appointed as Chairman. In April 1984 the Expo 88 Authority's general manager, Bob Minnikin, claimed that Expo 88 would require $180 million to produce, including resumptions and development, and $90 million to run. It was hoped that gate takings and sponsorship would cover the running costs, and that the development cost would be recouped through selling off the site after Expo 88. Only 13 hectares of the Expo 88 site was private land, with the remainder of the 40 hectares belonging to either the State Government or the Brisbane City Council. Nonetheless, the last resumption did not occur until October 1984, as the owner of the heritage-listed residence 'Collins Place' fought a running legal battle with the Expo 88 Authority.

Grey and Stanley Streets were closed to traffic in July 1985, and demolition work began. Construction of the pavilions started in January 1986. The concept of the Expo 88 architects, Bligh Maccormick 88, included eight large shade-canopies, to protect the public from the Queensland sun. Landscaping began in March 1987, and the Monorail, which would circle the site on a 2.3 kilometre long track, was commissioned in June of that year. By January 1988, $90 million of the $136.8 million construction budget had been spent, and 7.8 million visitors were expected.

During 1987 developers had been asked to present their proposals for Southbank's redevelopment after Expo 88. In February 1988 the State Government announced that the redevelopment plan of the River City 2000 Consortium had been accepted. The Consortium, headed by Sir Frank Moore of the QTTC, had visions of a World Trade Centre on an island, and a casino. However, by early 1988 there was a growing call in the media for more of the site to be turned into public parkland. During March and April 1988 the National Trust protested the River City 2000 Consortium's scheme to move Collins Place, the Plough Inn, and the Allgas Building, three heritage listed buildings, to a historic village. Premier Mike Ahern eventually gave reassurances that this would not happen.

Expo 88 ran for seven days a week, between the hours of 10am-10pm, for six months. Between its opening on 30 April, attended by Queen Elizabeth II, and 30 October 1988, the Expo attracted 15,760,447 visitors, the majority of these being Australians. Most of the international visitors were Japanese, but 100,000 came from the United Kingdom and Europe, with 150,000 visitors from the United States. A total of 36 nations, two international organisations, 14 state and regional governments, and 34 corporations had exhibits.

The pavilions were mostly plain, modular, and temporary. However, the Nepalese Peace Pagoda is a distinctive building, and was easily noticed as the public came through the Vulture Street entrance to Expo 88. The Association to Preserve Asian Culture (APAC) commissioned the Peace Pagoda, which was built by 160 craftsmen of the Kathmandu Valley over two years, before being assembled in Brisbane. It is one of only three such temples outside Nepal, the others being at Munich and Osaka. Nepal has a long history of intricate woodcarving on buildings, and the Peace Pagoda was an attempt to showcase this skill to the world. The two small timber pavilions in front of the Peace Pagoda sold yoghurt lati, samosas, orange juice and lemon tea. Artisans demonstrated their crafts inside the ground floor of the Pagoda, and people could drink their tea and watch the Expo crowds from the teahouse on the first floor. The nearby Nepalese pavilion showcased traditional costumes, climbing dress, photographs, and artefacts.

Expo 88 was a turning point for Queensland's culture and economy, especially in Brisbane. On 30 May 1983 Joh Bjelke-Petersen had noted that if Brisbane's bid were successful, it would focus the world's spotlight on Queensland. Sir Frank Moore believed that the key to developing a major tourist industry in Queensland was a series of hallmark events, including the 1982 Commonwealth Games, which would focus attention on Queensland far better than any advertising campaign. Expo 88 was also intended to start Brisbane on a modernisation process, and towards becoming a 'global' city. The urban renewal of South Brisbane was just one aspect. In April 1984 Sir Llew stated that Queensland would never be the same again after Expo 88, and Brisbane would develop an image as a centre of trade, culture and entertainment. In April 1988 the Courier Mail claimed that Expo 88 was "bridging the yawning gap from a hayseed State to an urbane, international future". Sir Llew also claimed in April 1988 that the aim was for Expo 88 to be a catalyst for a change in lifestyle. Queenslanders had experienced extended opening hours and outdoor café dining, and had liked it.

While the crowds enjoyed Expo 88, controversy continued regarding future plans for the site. There were calls for more public input on redevelopment plans. About 4.5 hectares of land between Stanley Street and the river belonged to the Brisbane City Council (BCC), as Clem Jones Park, and had been lent to the Expo 88 Authority. In June 1988 it was decided to restore this land as parkland, and the River City 2000 Consortium lost its Preferred Developer status.

Government plans for a South Bank Development Corporation were announced, and in July 1988 an interim committee, headed by Sir Llew, was formed to oversee redevelopment. Sir Llew noted in October 1988 that more public funding was necessary to increase the parkland component of the new Southbank, as the land had been earmarked for development to repay for the cost of Expo 88. The draft redevelopment plans released in November 1988 included 12 hectares of parkland. Public submissions on the plan suggested that people wanted to be able to return to the Expo 88 site, to a public facility that had a similar combination of food, art and nature.

At the end of Expo 88, the APAC had planned to sell the Nepalese Peace Pagoda, and it appeared likely that it would be moved to Japan. However, 90,000 people had signed a petition during Expo 88 to keep the Peace Pagoda in Brisbane, and in late 1988 the BCC offered to provide land for the Peace Pagoda, if the Federal Government would pay for its cost and maintenance. A "Save the Pagoda Campaign" was active by February 1989. Public donations eventually totalled $52,000, with $30,000 coming from one couple, who wanted to "give Brisbane something to remember from Expo 88". The BCC provided $50,000, and the Federal Government supplied $100,000. "The Friends of the Pagoda Committee" also raised funds to buy several items that had complemented the Peace Pagoda, including a brass statue of the deity of compassion, a bronze bell and carved stone frame, and a stone lingam.

The Southbank Development Corporation was set up February 1989, with Vic Pullar as the Chairman. Approximately $200 million had been spent on developing the Expo site, and this money had to be recouped. The South Bank Corporation Act was passed in May 1989, and the former Clem Jones Park area was transferred to the Southbank Corporation, which was tasked with managing a new parkland precinct. In June 1989 submissions were sought from five architectural firms, and in August the "Media Five" concept of a mixed residential, commercial, and parkland development was chosen. Under Media Five's plans, the Peace Pagoda would be moved to the northern part of the parklands. The Media Five Chairman, Desmond Brooks, also suggested that Collins Place, the Plough Inn and the Allgas Building be removed to a historic village, but Vic Pullar rejected this idea. However, when the Southbank Corporation's Draft Development Plan was released in November 1989, it proposed to only keep the facades of the historic buildings. After protests by the National Trust, the State Government overruled the Southbank Corporation.

The proposed redevelopment included a waterway through the park, and a large lagoon, which was later downsized. In March 1990 the Final Plan was presented, after public submissions, and site redevelopment started in July 1990. The official Southbank Parklands opening occurred on 20 June 1992. The Waterway was later filled in and replaced with the Energex Arbour, which was officially opened in March 2000.

The transfer of the Peace Pagoda to its current site started on 24 September 1991. The deity of compassion was moved from the first floor to a glass case on the ground floor, the sides of the ground floor were encased in glass, and a display case was added inside. Access to the first floor was sealed off. The two smaller pavilions were also transferred, but their service windows were locked up. Two lion statues and two elephant statues were also relocated. The building was originally designed to be demountable, but it is currently set in a ceramic tiled floor. The Peace Pagoda was one of the best-loved exhibits at Expo 88, as visitors were able to relax in it away from the bustle of the crowds. Today it is still popular, both with tourists, and those who go there to meditate and reflect.

Despite late entrants into the Exposition due to domestic political measures, World Expo 88 attracted some 100 pavilions, from 52 governments, of which 36 were from international-level, and numerous corporate participants. Major western and European nations were represented such as the United States, the Soviet Union (last representation at a World Exposition), France, West Germany (also last representation at a World Exposition), the United Kingdom, Canada, Spain and Greece, as well as major Asian countries such as Singapore, Thailand, Nepal, Pakistan, China, Japan, Sri Lanka, South Korea, Indonesia, and the Philippines, and amongst others. Close neighbouring countries, New Zealand and Papua New Guinea were also represented.

State-level and multi-lateral organisations included the six Australian states, the United Nations, the European Union, Vatican City, three American states (Hawaii, California and Alaska), one Japanese prefecture (sister state of Queensland, Saitama Prefecture), and one Japanese city (Brisbane's sister city Kobe City).

Corporate pavilions included IBM, Ford, Fujitsu, Queensland Newspapers, Australia Post, Cadbury Chocolate, Suncorp, and the Queensland Teachers Credit Union. NASA and Universal Studios hosted outdoor exhibits, with models of the space shuttle and Apollo program, as well as the car KITT from the TV series Knight Rider. Also having its own pavilion was the official Australian TV partner of the Expo, Network Ten, via its Queensland station TVQ, whose news studios were located there for public tours and during the Expo also switched channel frequencies in September (from channel 0 to channel 10) in line with the other state channels.

The most expensive pavilion was Japan (A$26 million), followed by the Queensland Pavilion (A$20 million) and the Australia Pavilion (A$18 million). The largest Pavilions were also Queensland,[6] followed by Australia then Japan.

High Definition TV received its Australian premiere at the Japan Pavilion, and the text-based Internet at the Swiss Pavilion. At the University pavilion the world's longest lab experiment was on display. The pitch drop experiment, which features tar pitch slowly dripping through a funnel at a rate of nine drops in 81 years, actually made an unseen drop while on display.

UltraSonic Dog Whistle with Colored Lanyard Free Bonus & Dog Training Guide – Adjustable Pitch Frequency – Bark Control – Teach Commands & Discipline Dogs or Use to Stop Barking (Black) by gps devicesusa

via WordPress ift.tt/1PZ19jq

FILE São Paulo 2010 | Exposição/Exhibition by keila k.