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Link to the exhibition: www.skd.museum/en/special-exhibitions/the-things-of-life-...
The Illustrations of the bowls were drawn by Sara Codutti
My Facebook Social Network Graph.
Pretty interesting clusters form.
If you have a Facebook account you can generate yours here.
PS. I don't know what is with this picture, but a low of people favorite it ...
Brussels : dedicated solely to the women of Hip Hop which takes place each year in the capital on International Women
I am in love with graph paper!!! And Copic pens and markers!! I used almost every pen I have on this one. All types of pens. Not just copics. I really enjoy graph paper!! So many choices!! 4/23/12
Photos tagged "sunrise" taken since 2003-1-1.
Their horizontal positions represent the day of the year the photo was taken. The vertical bars are the boundaries between months.
There was a big increase in quantity as we get near to today's date (2005-2-16).
This is the second version of <a href="this graph. In this version I am dimming the photos proportional to the number of submissions for that day, to minimize the effect of increasing submissions during the past year. This makes the seasonal change in sunrise times more apparent.
The vertical position represents the time of day the photo was taken, according to the EXIF data. The horizontal lines are hours, with the thick line in the middle representing 12 noon.
I assume these times are not local, but note the cluster of photos around 6:00 am, rising into spring, and then getting later in the day as the year progresses into Autumn.
The "sunset" version of this graph follows - there are about 5 times more "sunset" tags.--
More stuff by jbum:
cái coulpe thần thánh muôn năm của mình đây rồi :>
ngồi làm mà cứ quắn quéo vì độ đẹp của 2 thằng
yêu lắm cơ ^.^ có 1 sự điên ko hề nhẹ =)
text thì loanh quanh trên mạng rồi phang vào cho nó thêm phần lãng mạn :D
tự mình thì mình thấy ưng nhất #2 =)) 1 phần do stock ý =) quá reallllllllllllll
aaaaaaaaaaaaaaaaa,máu fan girl lại nổi lên rồi
This chart isn't a see it + know it (at first encounter). You have to live with it for a while to recognize the patterns. While it's not quite there yet, there is some goodness here.
Some metrics you want low, some you want high... and that's fine for these charts when you use them over time.
Then you'll have recognizable patterns to overlay on your graph, like diabetes, and you'll see whether your profile measures up to a typical diabetic profile...
Now consider you're a nurse or doctor seeing today's patient list; who is at risk? Where are the "pain" points. What am I seeing over and over again? Etc...
1 UNCOMPROMISING IMAGE QUALITY
2 COMPATIBILITY AS A MATTER OF PRINCIPLE
3 ENDURING PERFORMANCE AND VALUE
4 SILENCE AND DISCRETION
5 SPEED AND FLEXIBILITY
6 COMPLETE CONTROL OF ALL PICTURE PARAMETERS
With its extremely high-resolution image sensor in full-frame 35-mm format and cutting-edge image-processing system, the Leica M9 is uncompromisingly dedicated to capturing images of the very highest quality. The photographer may choose between image storage in JPEG format for fast processing, or as raw data in DNG format that supports a multitude of post-processing options. Alternatively, both formats may be stored simultaneously. In the DNG format, photo- graphers may also choose between a compressed, but faster and greater space-saving option, or an uncompressed version that preserves maximum image quality.
Of course the Leica M9 offers photographers access to the complete Leica M lens system lenses, long acclaimed by experts and users as the best in the world. Its development began in 1954, and the M-System has been continually advanced and improved ever since. The high-resolution, full-format image sensor of the M9 fully exploits the performance of legendary Leica lenses from corner to corner.
It is hardly unusual that a Leica, once owned, becomes a lifelong companion. This also applies to the digital M9: Its closed, full-metal housing, crafted from a high-strength magnesium alloy, and its top deck and bottom plate machined from large blocks of brass, provide perfect protec- tion for its precious inner mechanisms. The digital components and shutter assembly of the M9 are similarly constructed with endurance in mind. Free firmware updates ensure that the camera benefits from the latest technology. In short: The Leica M9 is an investment for a lifetime.
Discretion and unobtrusiveness are particular strengths of the M-system. In operation, the shutter of the M9 is as quiet as a whisper. An extremely low noise level when cocking the shutter is ensured by a sophisticated motor and gearing system. In discreet mode, the shutter is only cocked after the photographer‘s finger is lifted from the shutter release button when, for instance, the camera is concealed under a jacket. When shooting handheld at long exposure times, or whenever extreme steadiness is essential, slight pressure on the shutter release button in ‘soft release’ mode is sufficient to trigger the camera. In addition to these advantages, the fact that the combination of camera and lens is significantly more compact than any other full-frame camera system contributes to the fact that M photographers are frequently unnoticed and often simply blend into the background.
The Leica M9 adapts to its intended uses in a seamlessly flexible manner. Its sensitivity ranges from ISO 80 for wide-open apertures on bright days to ISO 2500 for low-light image capture. Very low noise levels and finely detailed images are achieved throughout the sensitivity range, even at the highest ISO settings. Very low image noise characteristics, an extremely bright viewfinder/rangefinder, low-vibration shutter and the availability of super fast lenses make the M9 the perfect camera for available-light photography.
The Leica M9 aids photographers with automatic functions whenever they’re required, but it never dictates how to shoot or interferes with the picture-taking process. Depending on the light level, the automatic ISO shift function increases the sensitivity of the camera as soon as the shutter speed falls below a hand-holdable value. At the same time, it also limits the shift to a maximum value determined by the photographer. This means that correct exposure without camera shake and the lowest possible sensitivity is always available to guarantee the best possible image quality in all situations. In addition, the M9 also offers automatic exposure bracketing with a user-selectable number of shots and exposure increments. This function ensures that even high-contrast subjects are perfectly captured.
Like every M camera of the past half century, the M9 is concentrated, by design, on the most photographically relevant functions. Its manual focusing – based on the combined viewfinder and rangefinder concept – and aperture priority exposure mode enable photographers to achieve maximum creative expression without imposing any limitations on their creative freedom. In combination with the 2.5-inch LCD monitor on the back, the simple, intuitive menu navigation system controlled by only a few buttons ensures rapid access to the entire range of camera functions.
7 FULL FRAME 24 × 36 MM – WITHOUT ANY COMPROMISES
8 OPTIMIZED SENSOR
9 INTUITIVE CONTROLS
10 ALL INFORMATION AT THE PUSH
OF A BUTTON
The CCD image sensor in the M9 was specifically designed and developed for this camera and offers full 35-mm film format without any compromises. All M lenses mounted on the M9 offer the same exact angle of view they had when shooting film material and therefore can now be used to an optimum effect. In other words, all the outstanding characteristics of Leica M lenses are now fully maintained for digital photography as well. In short, the high resolution and superior image quality of the M9 has the ability to fully exploit the enormous potential of M lenses.
In the case of the M9, it wasn’t a matter of modifying the lenses to match the image sensor, but rather the other way around. Our dedication to further developing the image sensor has resulted in a component perfectly matched to its intended role in the very compact M-System as well as to the performance of M lenses. The special layout of the micro lenses found in the M9 sensor makes it tolerant of oblique light rays impinging on its surface, thus assuring uniform exposure and extreme sharpness from corner to corner in every image. As a result, future Leica M lenses can be designed and optimized with uncompromising dedication to the achievement of the highest performance and compact construction. A newly developed sensor filter ensures the suppression of undesirable infrared light. The conscious decision to do without a moiré filter, a cause of image deterioration through loss of resolution, ensures maximum resolution of fine detail. The optimized signal-noise ratio of the CCD image sensor reduces the need for digital post-processing and ensures that M9 images possess an unrivaled and natural visual impact.
The key control element of the M9 is an intuitive four-way switch and dial combination used in conjunction with the 2.5-inch LCD monitor on the back. To set the ISO sensitivity, simply maintain light pressure on the ISO button while simultaneously turning the dial to select the required setting. All other functions important for everyday situations are quickly and easily accessible by pressing the set button: white balance, image-data compression, resolution, exposure correction, exposure bracketing, and programmable user profiles. The user profiles can be programmed with any combination of camera and shooting settings, stored under an assigned name, and accessed quickly whenever required for a particular situation. An additional pre-defined snapshot profile is also available. In snapshot mode, the M9 automa- tically sets as many settings as possible, thus providing a valuable aid to spontaneous and discreet photography. All other functions – from automatic lens recognition via six-bit lens- mount coding and selection of the required color space to cleaning of the sensor – are easily found in the clearly arranged main camera menu.
Pressing the “info” button in shooting mode displays the precise charge level of the battery, the remaining number of frames on the installed memory card, and the most important basic shooting settings, for example the shutter speed, on the camera’s brilliant 2.5-inch LCD monitor. In image-view mode, users can switch between an image-only view (with a zoom option up to single pixel level) or access other information by simply turning the dial. The available data includes information on the ISO sensitivity setting and shutter speed in use, plus a precise histogram display.
The Leica M9 embodies the heritage and amassed experience of more than five decades of the M-System. It is also, simultaneously, a digital system camera at the absolute pinnacle of modern technology. For Leica designers, photography has always been their prime concern – whether film or digital. The combination of an extremely efficient image sensor, the latest digital components, and the classic viewfinder/rangefinder principle – consistently optimized over many years – make the Leica M9 absolutely unique in all the world.
1
WORKFLOW SOFTWARE IS INCLUDED
The digital image processing workflow solution Adobe® Photoshop® Lightroom® is included in the M9 package.
The M9 is supplied complete with Adobe® Photoshop® Lightroom®, a professional digital work- flow solution for Apple Mac® OS X and Microsoft Windows®. The software is available as a free of charge online download for all Leica M9 customers. This also ensures that the latest release is always readily available. Adobe® Photoshop® Lightroom® offers a vast range of functions for the administration, processing, and exporting of digital images. If the images from the M9 are saved as raw data in the standardized and future-proof Adobe Digital Negative Format (DNG), then the sophisticated and precise processing options of Adobe® Photoshop® Lightroom® guarantee direct and extremely high-quality image processing with maximum image quality. At the same time, the 16-bit per channel color information captured by the image sensor is maintained throughout the processing workflow from image import to image export, ensuring that the most delicate tonal differentiations are preserved in maximum quality after completion of the post-processing sequence.
The Leica M9 can display a precise RGB tonal value histogram of the captured image after each shot, and also offers optional integration of the histogram in the automatic image view display. The clipping warning display over- and underexposed zones in each image, warning the photographer of potentially unusable images. An innovative feature is that the histogram is recalculated every time a new part of the image is viewed, thus enabling a precise quality assessment of small image areas and even the finest image details.
This is a Social network anlysis from www.linkedinlabs.com/inmaps of my LinkedIn contacts. The color coding corresponds to different groups that I know, and how the tool classifies them. (I will say that it is remarkably correct)
LinkedIN20120610a
Choi, Nisbett, and Norenzayan (1999) that when Americans and Korean's were asked whether an individual, "Jim", would help a stranger in the situation where Jim either has plenty of money in his pocket, or where Jim has money only enough for his own fare and an important meeting to go to, the Koreans were found to be more influenced by the situation as in the above graph (based upon Choi, Nisbett, & Norenzayan, 1999, fig. 1. p. 52). It is argued that Asians are more contextual basing their decisions, and predictions of other's decisions, upon the context of the action rather than the character of the individual.
The experimental evidence is persuasive, and it fits in with stereotypes of East Asian "collectivists", lacking gumption, blown by the winds of societal, and contextual pressure.
At the same time, there is something wrong with this picture. Firstly I find that Koreans and Japanese are notably helpful, and non violent, to strangers across situations rather than showing behavioural swings, the helpful to mean, as shown in the graph above.
I suspect that there is another reason why the Koreans are being more "context" sensitive and that is that they are given no information about Jim other than his name. If the Koreans were given an equal amount of information regarding Jim, such as "Jim is a suited 25 year old business man working for a provincial bank", say, then the they would have been no more swayed by the context than the Americans because they, like the Japanese, base their decisions upon what they can imagine, animating the visio-imaginable rather than the phoneme "Jim".
In support of this hypothesis in other research it was found that when given a little more information ‘‘Kate (Yumiko in Japanese) age 20, is a student at your university," (Hamamura, Heine, & Takemoto, 2007, p.250) was given to Japanese and Canadian students, it was the Japanese and not the Canadians that gave a more outlier - further from "most other students" - appraisal of ‘Kat/Yumiko's personality (graph above bottom, based on Hamamura, Heine, & Takemoto, table 1). This difference was significant (p<.001). This is because, I believe, in this experiment the subjects were not just given a name, but also some information upon which to imagine the person that they were appraising.
The Japanese mind does not make decisions in words (Kim, 2002), but upon the surface of its mirror (Timothy Roland Scott Leuers = Takemoto & Sonoda, 1998, 2000; T.R.S. Leuers = Takemoto & Sonoda, 1999; T. Leuers = Takemoto & Sonoda, 1999; Takemoto, T., 2002, 2003; T. Takemoto, n.d.; Timothy Takemoto, 2011a, 2011b, 2012a, 2012b, 2014).
Choi, I., Nisbett, R. E., & Norenzayan, A. (1999). Causal attribution across cultures: Variation and universality. Psychological Bulletin, 125(1), 47. Retrieved from citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.316.410...
Hamamura, T., Heine, S. J., & Takemoto, T. R. (2007). Why the better-than-average effect is a worse-than-average measure of self-enhancement: An investigation of conflicting findings from studies of East Asian self-evaluations. Motivation and Emotion, 31(4), 247–259. Retrieved from link.springer.com/article/10.1007/s11031-007-9072-y
Heine, S. J., Takemoto, T., Moskalenko, S., Lasaleta, J., & Henrich, J. (2008). Mirrors in the head: Cultural variation in objective self-awareness. Personality and Social Psychology Bulletin, 34(7), 879–887. Retrieved from www2.psych.ubc.ca/~heine/docs/2008Mirrors.pdf
Kim, H. S. (2002). We talk, therefore we think? A cultural analysis of the effect of talking on thinking. Journal of Personality and Social Psychology, 83(4), 828. Retrieved from labs.psych.ucsb.edu/kim/heejung/kim_2002.pdf
Leuers = Takemoto, T. R. S., & Sonoda, N. (1998, October). 心像的自己に関する比較文化的研究（1） Cross Cultural Research on the Specular Self. Oral Presentation口頭発表 presented at the The 62th Annual Convention of the Japanese Psychologiocal Association English日本心理学第64回大会, Tokyo Gakugei Daigaku. Retrieved from nihonbunka.com/docs/shinzoutekijiko1.doc
Leuers = Takemoto, T. R. S., & Sonoda, N. (1999). Independent self bias. Progress in Asian Social Psychology, 3, 87–104. Retrieved from httyp://www.nihonbunka.com/docs/independent_self.rtf
Leuers = Takemoto, T. R. S., & Sonoda, N. (2000, November). 心像的自己に関する比較文化的研究（6） －メディア（言語とイメージ）の違いと日米比較― Cross Cultural Research on the Specular Self: Differences in Media (Language and Image) and comparison between Japan and America. Oral Presentation口頭発表 presented at the The 64th Annual Convention of the Japanese Psychologiocal Association English日本心理学第64回大会, Kyoto University. Retrieved from nihonbunka.com/docs/shinzoutekijiko6.docx
Leuers = Takemoto, T., & Sonoda, N. (1999). The eye of the other and the independent self of the Japanese. In Symposium presentation at the 3rd Conference of the Asian Association of Social Psychology, Taipei, Taiwan. Retrieved from nihonbunka.com/docs/aasp99.htm
Takemoto, T. (2002). 鏡の前の日本人. In 選書メチエ編集部, ニッポンは面白いか (講談社選書メチエ. 講談社.
Takemoto, T. (2003). 言語の文化心理学―心の中のことばと映像(The Cultural Psychology of Language: Language and Image in the Heart). In 武本, ティモシー & 古賀,範理, あなたと私のことばと文化―共生する私たち―. 五絃舎.
Tom's been counting down his inbox from silly heights. Working on averages, we can expect him to finish sometime on 11th July.
Within this data:
* 445 tweets from announcing he's leaving Yahoo to earlier tonight
* 174 beginning with the @ symbol
* 6 tweets containing both an @ and a link
* 56 retweets
* 22 hashtags
* 11 tweets of exactly 140 characters
* 50 Question marks
This is the graph for trendmapper.com from this site:
www.aharef.info/static/htmlgraph/
To be completely accurate. It is the graph from this page:
I have made a graph out of the images to show how the uncanny valley effect worked in my case, with the experiment that I made with Alpha, 4 years ago:
www.flickr.com/photos/alpha_auer/sets/72157605718766594/
(This is almost the same as the one which I uploaded just before, except that I flattened out all the gradients that I had in that one. Seemed a bit too much somehow...)