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Jewel's toroidal glass-and-steel façade was designed by a consortium of architects, led by Moshe Safdie, who also designed Singapore's Marina Bay Sands. Renowned local firm RSP Architects Planners & Engineers were the executive architect and structural engineers. The landscape architect was PWP Landscape Architecture, who co-designed the National 9/11 Memorial in New York City, and worked with Safdie on the landscaping of Marina Bay Sands. Benoy were the interior designers; BuroHappold Engineering were responsible for the façade and Lighting Planners Associates handled the lighting. The Rain Vortex was engineered by water design firm WET Design. It has a 360-degree light and sound show projected onto it.
Jewel was envisioned to combine a marketplace and an urban park. "The component of the traditional mall is combined with the experience of nature, culture, education and recreation, aiming to provide an uplifting experience. By drawing both visitors and local residents alike, we aim to create a place where the people of Singapore interact with the people of the world," said Safdie.
The glass panels of the dome are framed in steel which rests on a complex latticework. At night, the glowing dome is visible from all surrounding areas.
Source: Wikipedia
New at the December FaMESHed
Just in time for the Holidays, The Sleeps 'Till Christmas interactive Advent Calendar. Fun for the whole family!
Simply click the date and the little Christmas tree moves to it!
Choose from 3 colors to match your decor.
Two versions included - Group Only and Everyone permissions.
Best of all, only 2LI ♥
Happy Holidays everyone from our family to yours! ♥ MYSA
You're looking at three artists interacting with a fourth artist's installation. In the picture you see my legs, Magda Indigo's legs and legendary Flemish artist Willem Vermandere. We're in a room at the Raveelmuseum with a piece made by revered Belgian artist, Roger Raveel. No Photoshop.This is a single frame capturing the moment.
Des physiciens britanniques ont récemment accouché d’une nouvelle théorie sur les interactions entre la matière et la lumière au niveau quantique, et ces travaux ont aussi fait émerger une très intéressante : pour la première fois, ces chercheurs ont réussi à définir la forme précise d’un photon isolé.
Les photons, ce sont les particules qui servent de vecteur à la force électromagnétique, et par extension, à la lumière visible grâce à laquelle nous sommes capables de visualiser notre environnement. Mais même s’ils sont incroyablement abondants, ce sont des objets qui, paradoxalement, sont encore loin d’être parfaitement compris par les physiciens.
La façon dont ils interagissent avec la matière, en particulier, est extrêmement complexe. Pour en appréhender toutes les nuances, il faut d’abord réussir à conceptualiser puis à associer une myriade de phénomènes souvent très difficiles à manipuler, notamment parce qu’une grande partie d’entre eux se déroulent dans le domaine quantique.
« La nature de ces interactions ouvre des possibilités infinies par rapport à l’existence et à la propagation de la lumière à travers son environnement. Ces possibilités illimitées rendent les interactions exceptionnellement difficiles à modéliser, et c’est un défi que les physiciens quantiques cherchent à relever depuis plusieurs décennies », expliquent les auteurs de l’étude dans un communiqué de l’Université de Birmingham.
Un nouveau cadre théorique sur le comportement des photons
Pour simplifier l’équation, ces chercheurs ont donc décidé de regrouper toutes ces possibilités dans quelques ensembles bien définis. Grâce à cette approche, ils ont réussi à établir un modèle certes simplifié par rapport à la réalité, mais tout de même cohérent et très complet : il décrit non seulement la relation entre le photon et l’objet qui l’émet, mais aussi le comportement de l’énergie qui résulte de ces interactions.
Il s’agit donc de travaux importants, car ils permettent de définir précisément comment ces particules exceptionnellement importantes interagissent avec les différents éléments de leur environnement.
« Ces travaux nous aident à approfondir notre compréhension de l’échange d’énergie entre la lumière et la matière », explique Benjamin Yuen, co-auteur de l’étude. « Il y a de nombreux signaux que l’on considérait auparavant comme du simple “bruit”, mais qui contiennent en fait énormément d’informations auxquelles nous pouvons désormais donner du sens », se réjouit-il.
Par extension, cette étude défriche donc de nouvelles pistes que les physiciens pourront emprunter pour faire progresser des disciplines comme la physique quantique ou la science des matériaux. Les auteurs citent notamment des « nouvelles technologies nanophotoniques » qui pourraient « changer notre manière de communiquer, de détecter des pathogènes, ou encore de contrôler des réactions chimiques à l’échelle moléculaire ».
Le premier portrait-robot d’un photon
En parallèle, ces travaux ont aussi fait émerger une autre nouveauté relativement anecdotique dans le contexte de ces travaux, mais néanmoins fascinante : pour la première fois, les auteurs ont réussi à modéliser la “forme” d’un photon. Dans leur papier de recherche, ils présentent en effet une forme vaguement circulaire qui fait un peu penser à une cellule vue au microscope, entourée d’un étrange halo en forme d’étoile.
Ce concept de “forme” d’un photon est assez perturbant au premier abord. À l’inverse des neutrons et des protons qui constituent les atomes, les photons ne sont typiquement pas décrits comme des objets physiques. Contrairement à ces derniers, il faut passer par plusieurs couches d’abstraction pas toujours très intuitives pour les étudier.
En effet, on considère généralement que les photons n’existent qu’à travers leurs interactions ; ils sont régulièrement décrits comme des ondes plutôt que comme des particules tangibles (voir la notion de dualité onde-corpuscule). Par extension, la plupart des modèles physiques leur attribuent une masse nulle, et considèrent qu’ils n’ont pas de taille ou de forme bien définie.
Physique : l’étau se resserre autour de la masse de la lumière
Comment les auteurs ont-ils donc réussi à visualiser une forme qui, selon ces interprétations, n’existe tout simplement pas ? Pour le comprendre, il faut reconsidérer la définition même de la forme. Car ici, nous ne parlons pas des frontières d’un objet matériel comme une sphère ou un cube ; il s’agit plutôt d’une question de répartition d’énergie.
Pour visualiser cette notion, on peut l’aborder en faisant un détour par le monde de la musique. Chaque note (Do, Ré, Mii…) est construite autour d’une fréquence fondamentale qui détermine sa hauteur. Mais elle est rarement seule : la fréquence fondamentale est presque toujours accompagnée d’autres fréquences plus discrètes que l’on appelle les partiels, et ce sont eux qui déterminent les autres paramètres d’un son — comme son timbre. C’est précisément à cause de ces partiels qu’un do joué par un piano est beaucoup plus riche que celui qui sort d’un diapason, par exemple ; la répartition de ces fréquences change la manière dont l’onde sonore interagit avec nos tympans.
De la même façon, l’énergie des photons est distribuée sur plusieurs modes de fréquences différents. Comme avec une note de musique, cette répartition joue un rôle crucial dans la manière dont le photon interagit avec son environnement, et notamment avec les champs électriques.
En d’autres termes, cette image ne représente pas une forme physique que l’on pourrait toucher ou observer au microscope. La « forme » en question est en fait une carte de la distribution de l’énergie véhiculée par le photon sur différentes fréquences du spectre électromagnétique ; c’est une manière de représenter visuellement le résultat des interactions entre le photon et la matière qui sont décrites dans le modèle des chercheurs (voir plus haut).
Quoi qu’il en soit, il s’agit tout de même du premier portrait d’un photon. Et même s’il ne s’agit que d’une représentation abstraite, il sera très intéressant de garder un œil sur les travaux ultérieurs qui se serviront de ce nouveau cadre théorique pour faire avancer des disciplines fascinantes telles que la physique quantique.
Same Panorama in higher resolution and better interactive controls:
www.360cities.net/image/christmas-trees-in-the-financial-...
Not long now. My new book has taken ages to complete and I have been VERY thorough. It drops this Friday :)
Original Mesh • Copy/Mod
Shop Inworld:
Shop MP:
marketplace.secondlife.com/p/Crowded-Room-Bone-Pipe-Bedro...
Fatpack includes:
▸Avatar Size Dog Bed PG or Adult
▸Dog Food Bowls ( Touch to Fill )
▸Dog Paw Home Sign
▸Dog Bone Lights With ON/OFF Switch
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• Avatar Size Bed
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• Over 100+ Animations with Bento (adult)
* Does not include bento facial expressions, allowing you to use the proper facial hud that comes with your unique bento head or your unique purchased animations ( no tongue through your nose xD ).
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Animations
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NEW @ Tres Chic From Vanilla Bae!
Slurl: maps.secondlife.com/secondlife/Tres%20Chic/163/133/133
❤Eirwen Onesie
• Maitreya, LaraX, Legacy, Reborn, Waifu, Reborn Phat Pussy, Nhumana
• Strip Me Interactive 5 Steps
• Mega Pack Is Modify
• Solids & Pattern Packs Are Sold Separately OR Included In The Mega Pack
• 399L Singles / 999L Pattern Packs / 1499L Mega pack
❤VB Team
For the Wizarding Faire in Second Life! 3 new releases, including House inspired Cakes, Cauldron Cupcakes , & Mandrake Cupcakes. All interactive click & handheld options!
This atmospheric image shows a galaxy named Messier 85, captured in all its delicate, hazy glory by the NASA/ESA Hubble Space Telescope. Messier 85 slants through the constellation of Coma Berenices (Berenice’s Hair), and lies around 50 million light-years from Earth. It was first discovered by Charles Messier’s colleague Pierre Méchain in 1781, and is included in the Messier catalogue of celestial objects.
Messier 85 is intriguing — its properties lie somewhere between those of a lenticular and an elliptical galaxy, and it appears to be interacting with two of its neighbours: the beautiful spiral NGC 4394, located out of frame to the upper left, and the small elliptical MCG 3-32-38, located out of frame to the centre bottom.
The galaxy contains some 400 billion stars, most of which are very old. However, the central region hosts a population of relatively young stars of just a few billion years in age; these stars are thought to have formed in a late burst of star formation, likely triggered as Messier 85 merged with another galaxy over four billion years ago. Messier 85 has a further potentially strange quality. Almost every galaxy is thought to have a supermassive black hole at its centre, but from measurements of the velocities of stars in this galaxy, it is unclear whether Messier 85 contains such a black hole.
This image combines infrared, visible and ultraviolet observations from Hubble’s Wide Field Camera 3.
Credits: ESA/Hubble & NASA, R. O'Connell; CC BY 4.0
W. H. Scribner’s Art Gallery, Newton, Iowa,
Albumen silver print from a collodion glass negative, mounted on card
The sitter wears her hair parted at the center and drawn back smoothly over the temples into a low, softly arranged chignon, with deliberate looseness and flyaway texture characteristic of post–Civil War fashion.
Decorative accessories—most notably a narrow ribbon threaded with small beads and a light-colored bow placed high toward the crown—signal the mid-to-late 1860s shift away from earlier, tightly controlled hairstyles toward a more natural, romantic aesthetic.
Long pendant earrings and a large bow fastened at the throat with a brooch further anchor the image in this period: such vertical drop earrings and prominent neck bows are especially associated with the years immediately following the war, c. 1865–1870.
The overall effect is restrained but consciously stylish, consistent with mid-1860s ideals of respectable femininity.
The photograph is presented as a standard carte de visite, mounted on a pale card with double-rule borders printed in muted tones. This style of mount—simple, elegant, and unembellished—became common in provincial American studios during the later 1860s, after earlier, heavier mounts but before the more ornate and branded designs of the 1870s. The absence of elaborate printed fronts places the emphasis squarely on the portrait itself, a convention typical of the period.
Material Traces of a Social Exchange
As an object, this photograph also bears witness to its own use. Cartes de visite were made to be handled, exchanged, and kept close, and this print was almost certainly held by the sitter herself after it was produced—examined, judged, and possibly given to another person as a token of regard.
Although no identifiable biological traces survive, the photograph retains material evidence of touch and circulation in the form of softened edges, surface wear, and subtle disturbances in the image layer. In this sense, the object preserves not the body of its subject, but a record of its participation in lived social relationships, bridging the moment of its making and the present through continued physical presence rather than symbolic association.
Silver on Glass and Silver on Paper: Two Independent Systems Joined Only by Light
Mid-19th-century photography relied on silver chemistry at two distinct stages of image-making, using the same element for two different purposes. Understanding the separation between these stages—**image capture on glass** and **image reproduction on paper**—is essential both to the technology itself and to the material traces visible in surviving photographs today.
Image capture: the wet collodion glass negative:
In the wet collodion process, a sheet of glass was coated with collodion containing iodide and/or bromide salts and then sensitized by immersion in silver nitrate. This produced light-sensitive silver halides suspended within a thin collodion film on the glass surface. While the plate remained wet, it was placed in the camera and exposed.
Light reflected from the sitter passed through the lens and struck these silver compounds, creating a **latent image**—an invisible chemical alteration corresponding to the distribution of light and shadow. During development, the exposed silver halides were reduced to **metallic silver**, forming a negative image. After fixing and washing, the plate became chemically stable and insensitive to further light. At this point, the negative was complete: a durable object bearing a silver image embedded in a transparent film on glass. The glass itself served only as a support; the image resided entirely in the collodion layer.
Image reproduction: the albumen paper print:
The finished glass negative was then used to create positive prints on paper. Albumen paper was prepared by coating thin sheets of paper with egg white mixed with salts, then sensitizing the dried coating by floating it on silver nitrate. This produced a second, entirely separate population of light-sensitive silver salts, now embedded in the albumen layer on the paper’s surface.
To make a print, the glass negative was placed directly against the sensitized paper and exposed to sunlight. Light passing through the negative—strong where the glass was clear, weak where it was dense—struck the paper and caused the silver salts in the albumen layer to darken, forming metallic silver in direct proportion to exposure. This process produced a **positive image** without a separate chemical development stage; albumen prints are “printed-out” images, visible as they form under light. After printing, the paper was fixed, washed, dried, and mounted to a card.
Two uses of silver, no interaction between them:
Although silver chemistry appears in both stages, the silver on the glass and the silver on the paper **never interacted physically or chemically**. They participated in independent reactions, at different times, in different materials. No silver moved from the negative to the print; no chemical process crossed from one surface to the other. The glass negative functioned purely as an optical modulator—a stencil for light.
The relationship can be summarized simply:
**Silver → light → silver**
The silver image on glass shaped the light; the silver salts on paper responded to it.
Because the negative remained chemically stable after fixing, it could be reused repeatedly. Each print made from it was a new, independent chemical event, allowing studios to produce dozens or hundreds of identical cartes de visite over months or years, even in different locations. This reproducibility—combined with the small, affordable format—made the carte de visite the dominant photographic form of the 1860s.
Why this distinction matters today
The dual use of silver explains many features visible in surviving photographs. Glass negatives and paper prints age differently because they contain silver in different physical and chemical environments. Albumen prints yellow as the organic egg-white layer oxidizes; glass negatives do not. Silver migration, speckling, and fiber-following marks occur only where silver is present in the paper’s albumen layer. The paper support decays organically, while the image material behaves as a metal.
In material terms, one is looking not at a single photographic substance, but at two generations of silver, chemically related yet historically and physically separate—linked only by light.
This negative-positive system also marks a fundamental shift from earlier photographic technologies such as the daguerreotype. Where the daguerreotype plate was directly exposed to light reflected from the sitter, later paper photographs are mediated objects: translations of an earlier optical event rather than its direct physical trace. The silver on glass recorded the scene; the silver on paper reproduced it.
Because the negative and paper were the same size, no enlargement was involved; each print was an exact replica of the original exposure.
After printing, the paper was typically toned—often with gold chloride—to improve stability and image color, then fixed, washed, dried, and finally mounted on a card support.
This negative-positive system allowed studios to produce multiple identical prints from a single sitting with relative efficiency and at modest cost. Its reproducibility, combined with the small, easily exchanged format, made the carte de visite the dominant photographic form of the 1860s.
The resulting silver image reflects the dominant photographic technology of the era: sharp yet softly tonal, with the gentle falloff and warm aging characteristic of albumen prints. Such studios catered to local clients seeking durable, exchangeable likenesses rather than unique objects.
Photographs of this type were commonly made at moments of transition—engagement, impending marriage, or the establishment of an adult identity—and were often exchanged between families or kept together in albums. The sitter’s composed expression and carefully chosen adornments suggest an image intended not merely as a personal keepsake, but as a representation meant to circulate within a social and familial network.
Hornbills tend to mate for life, and it is always a joy seeing how the couples interact when one isn't ensconced in a nest yet. They have quite the elaborate mating dances, teritorial dances, and beautiful flight patterns :)
Hornbills are also very common down there, so after the umphteenth sighting, we didn't stop for them, unless they presented themselves in particularly beautiful light.
The picture above was taken as they just landed on one branch together, to start up one of their "bow and dip" dances - after, they flew off together again.
Crown Fountain is an interactive work of public art and video sculpture featured in Chicago's Millennium Park. Water is turned off at winter but led displays are still interactive.
Here's a shot I took in NYC the other day for a project I'm working on with reflections. The idea is to have different elements from the reflection interacting with the subject that is being photographed through the glass. In this case, the parts of the main parts of the reflection are the man in the hat in the middle and the red car on the right.
Enjoy, and please feel free to critique!
The funny thing is that we bought a book about tribes (Pokot, samburu, masai, etc) and..he was in the book! So we let it to him. The world is really small!
The Pokhot live in the Baringo and Western Pokot districts of Kenya and in Uganda.
There are two main sub-groups depending of their location and way of life. The first group consist of the Hill Pokot who live in the rainy highlands in the west and in the central south, and are mainly farmers and pastoralists. The second group is made up of the Plains Pokot who live in dry and infertile plains, with their cattles. A homestead is composed of one or more buildings for a man, his wife and children; eventual co-wives live in separate houses. The role of the community in teaching children ethical rules. Most of the Pokot are nomadic and thus have interacted with different peoples, incorporating their social customs.The Pokot are very proud of their culture. The Songs, storytelling, and decorative arts, especially bodily decoration, are very appreciated. They adorn the body with beads, hairstyling, scarification, and the removal of the lower central incisors. Pokot girls wear a beaded necklace made of the stems of an asparagus tree. Most Pokot have some knowledge of herbal medicine, so they often use these treatments along with those of the hospitals. They belong to the Kenya's Nilotic-speaking peoples. .
For the Pokot, the universe has two realms: the above is the realm of the most powerful deities—Tororot, Asis (sun), and llat (rain); and the below is the one where live humans, animals, and plants. Humans are responsible for the realm that they inhabit, but they rely upon divinities to achieve and maintain peace and prosperity. They worship many deities like the sun, moon and believe in the spirit of death.The Pokot communicate with their deities through prayer and sacrifice. They perform it during ethnic festivals and dances. Oracles are responsible for maintaining the spiritual balance within the community. They are superstitious and believe in sorcery, so sometimes they call on shielding lucky sorcery. They have prophets, either male or female, who foresee advise, usually by the means of animal sacrifices. His or her ability is considered as a divine gift. Clan histories recount the changes of location, through poetry and song, emphasizing the vulnerability of humans and the importance of supernatural powers to help them overcome hunger, thirst, and even death. Ceremonies mark the transitions in the people's social lives. Among these are: the cleansing of a couple expecting their first child; the cleansing of newborn infants and their mothers; the cleansing of twins and other children who are born under unusual circumstances; male and female initiation; marriage; sapana, a coming-of-age ceremony for men; and summer-solstice, harvest, and healing ceremonies. The most important rite of passage for most Pokot is circumcision for boys and clitoridectomy for girls. These rites consist of a series of neighborhood-based ceremonies, emphasizing the importance of having a good behavior. When boys are circumcised, they acquire membership in one of eight age sets. Women do not have age-sets. After excisions, for several months, girls have a white painting on their face and wear a hood made of blackened leather with charcoal and oil. This means they are untouchable until the lepan ceremony, that marks the passage to womanhood. Unlike other tribes, the Pokot keep the affiliation to their clan throughout their lives, there is no disruption with marriage. Surprisingly, the agreement before marriage is made by gift giving, from the groom and his family to the bride and her family, often over a period of years (and not the contrary). It often implies the gift of a combination of livestock, goods, and cash to the bride's family, and the allotment of milk cows and rights to land to the bride. The bond between a husband and wife lasts for 3 generations, after what marriages can take place again between the two groups. Polygamy exists but is not prevalent among men before 40. The spirits of the elder anticipate reincarnation in their living descendants: when a child is said to resemble the elder, the same name is given. Disputes are resolved in neighborhood councils and in government courts. Some of the sanctions include shaming, cursing, and bewitching.
© Eric Lafforgue
Not sure why the quality is so bad on Flickr but it looks a lot better here: www.thinglink.com/video/911315048830337026
The perfect spooky activity to do this fall.
The interactive pumpkin features a system which allows you to remove the lid, scoop the flesh, carve the pumpkin and then place a candle inside.
A smaller model is included for child avatars (tested with bebe youth).
A decor pack is also provided which is perfect to use as a photo prop or for decorating your home.
How to use:
-Rez the pumpkin on a suitable surface (Make sure it's facing the right way - the sticker is an indication).
- Stand directly in front of the pumpkin.
- Attach the item named "Pumpkin Carving Tool".
- Click the pumpkin to begin the interactive functions.
I hope you enjoy it guys!
THIS IS FIGHTING 3D MULTIPLAYER GAME DEVELOPED FOR IOS PLATFORM.
All 3D Art Work, Animation – Motion Capture and game development developed by GameYan – Game Development Company.
Our Studio Overview.
GameYan is a game and movie art design & development Animation Production House which creates next generation 3D Art for feature films and 3D game development. Being a digital art outsourcing production hub and Film Production Company, Our professional team of artists can develop variety of 3D art content for movie and video games along with low optimized characters for mobile and virtual reality interactive games.
Project: Multiplayer – 3D iOS Mobile Game Development
Client: Roberto
Category: Game Development
Country: Italy
Read more: www.gameyan.com/game-development-company-design-studio.html
"Bliss Dance" is a forty-foot tall sculpture by local artist Marco Cochrane that has graced Treasure Island's Great Lawn since 2011. Displayed under a Use Permit between TIDA, the artist, and the Black Rock Arts Foundation (BRAF), Bliss Dance has inspired countless residents and visitors to the Island alike with it's grace and beauty (www.sftreasureisland.org/index.aspx?page=447).
The sculpture, of a dancing woman, stands 40 feet tall, weighs 7000 pounds and is ingeniously constructed of triangulated geodesic struts. By day, the dancer’s ‘skin’, made of stainless steal mesh, shimmers in the sun. By night, it alights brilliantly with a complex array of 1000 slowly changing l.e.d. colored lights. Viewers may interact with and manipulate the lighting effects with an iphone application. The dancer’s delicate, graceful form precariously balances on one foot, adding to the astonishing impression of imminent movement and lifelike presence (laughingsquid.com/bliss-dance-a-40-foot-tall-steel-sculpt...).
_DSC5098
My art is always about great Journeys. I invite you to come with me on todays. I have been working on changing my way of thinking of my self and who I Believe I am. I plan to be better then I was yesterday. This image is a Visual interpretation of my internal self. I always see my emotions as colors. To day Im busting out no walls can hold me back. Power strong will and driving without fear. Fear can just go take a hike. Every thing is going to be new. I start to open to the new truth in this life. I will shoot past the moon and stars in to the far off next galaxy. I become all my dreams and hold the keys to open every door I please. No more locks bricks or walls can ever hold me. Im the wave and I carve my path to day. I for give my mistakes of the past and will not look back. May I live each day as if it were my last day. For now I shall just engage. You better hold on this will be a fantastic new adventure.
Hay Im on Facebook now so look me up. I will be adding art for people to invest in. Any cool help to add value to my art is welcome.
www.facebook.com/profile.php?id=100016188035375
Mike
Father and son collaboration
Our photographic art is a kinetic motion study, from the results of interacting with my son A.J and his toys.
He was born severely handicapped much like a quadriplegic. On December 17,1998. Our family’s goal has always been to help A.J. use his mind, even though he has minimal use of his body.
A.J. likes to watch lights and movement. One of the few things he can do for himself is to operate a switch that sets in motion lights and various shiny, colorful streamers and toys that swirl above his bed.
One day I took a picture of A.J. with his toys flying out from the big mobile near his bed like swings on a carnival ride. I liked the way the swirling objects and colors looked in the photo.
I wanted to study the motion more and photograph the whirling objects in an artful way, I wanted my son A.J. to be a part of it. After all, he’s the one who inspires me. When A.J. and I work together on our motion artwork, A.J. starts his streamers and objects twirling, I take the photographs.
Activating a tiny switch might not seem like much to some, but it’s all A.J. can do. He controls the direction the mobile will spin, as well as when it starts and stops. The shutter speeds are long, and sometimes, I move the camera and other times I hold it still.
I begin our creation with a Nikon digital camera. Then I use my computer with Photoshop to alter the images into what I feel might be an artistic way. Working with Photoshop, I find the best parts from several images and combine them into the final composite photograph. I consider the finished work to be fine art. The computer is just the vehicle that helps my expressions grow.
I take the photographs and A.J. adds the magic. It’s something this father and son do together. After I’ve taken a few shots, I show him the photos in the back of the camera. When the images are completed, I show him from a laptop. He just looks. He can’t tell me whether or not he likes the images, but he’s always ready to work with me again.
It offers me my only glance into A.J.’s secret world. We’ve built a large collection of images and I hope the motion and color move you as much as they do me.
A.J. inspires me to work harder to understand my life in the areas of art, photography, people, spirituality, and so much more. He truly sets my mind in motion and helps me find the beauty in everyday things.
Abstract Art set:
www.flickr.com/photos/patnode-rainbowman/sets/72157602269...
AJ Patnode - A Journey of Hope (documentary):
www.youtube.com/watch?v=OR7m8QFcmRM
This shows how we do the Camera work:
www.youtube.com/watch?v=fmjVVGraUVw
AJ'S blog:
Deutsches Technikmuseum Berlin, Berlin, Deutschland.
Antes de la Segunda Guerra Mundial, Berlín tenía cerca de cien exposiciones sobre el desarrollo tecnológico. El Museo Tecnológico Alemán o Deutsches Technikmuseum en el barrio de Kreuzberg sigue aquella tradición. Con un área de 26.500 metros cuadrados, es el mayor museo tecnológico en Europa. Aquí, en el lugar del antiguo almacén de mercancías de la estación Anhalter, podrá experimentar en persona la tecnología gracias a multitud de exposiciones interactivas minuciosamente preparadas sobre multitud de campos, incluyendo el transporte o la tecnología de la comunicación. Además podrá explorar la apasionante historia de barcos, aviones de guerra y locomotoras de vapor.
El Museo Tecnológico Alemán abrió sus puertas en 1983 como “Museo para el Transporte y la Tecnología”. En 2003 el museo se sometió a un cambio de imagen tomando un aspecto más futurista. Un avión Douglas C-47B Skytrain también conocido como “Raising Bomber” del año 1948-49 cuelga sobre la entrada al museo.
Hay también un área de carga para el antiguo almacén de cargamento Anhalter, en el piso bajo del museo. Aquí es donde usted encontrará el “Museo del futuro”, en el nuevo edificio principal. Esta zona le permitirá aprender más de las relaciones que rodean al hombre y la máquina, y el rápido avance de la tecnología. Adicionalmente, si visita el Centro de Ciencia, disfrutará de diversidad de experimentos con electricidad, imanes y curiosos efectos de luces. En la sala de motores verá locomotoras de vapor y todo lo relacionado con el mundo de los ferrocarriles.
Contemplará no menos de 40 ferrocarriles históricos, incluyendo el opulente vagón salón del último emperador alemán. Uno de los modelos que no debe perderse es el de la vieja estación de ferrocarriles Anhalter. Entre los aviones que se exhiben destaca el “Tante Ju” (Tía Ju), un legendario avión de hélices fabricado entre 1932 y 1952. El departamento de historia marítima del museo presenta 1.500 piezas de los últimos 10.000 años. Maravíllese en un buque de carga de 33 metros de largo de 1840. En aquella época, este majestuoso navío operaba entre el río Elba y el río Vístula.
Otra cosa que no debe perderse es el Simulador Naval, donde podrá capitanear su barco de manera segura hasta el puerto.
Los amantes de los coches disfrutarán de una variada colección desde coches de caballos hasta el coche de vapor o el motor giratorio. Hay incluso un “Rumpler Tropfenwagen” original, construido entre 1921 y 1925. Solamente hay dos modelos de este estrafalario y elegante vehículo en el mundo.
Dese una vuelta por el parque del museo, con sus cervecerías y numerosos molinos de grano.
Before World War II, Berlin had about one hundred exhibitions on technological development. The German Technological Museum or Deutsches Technikmuseum in the Kreuzberg district follows that tradition. With an area of 26,500 square meters, it is the largest technological museum in Europe. Here, in the place of the old warehouse of merchandise of the Anhalter station, you will be able to experience the technology in person thanks to a multitude of meticulously prepared interactive exhibitions on a multitude of fields, including transport or communication technology. You can also explore the exciting history of ships, warplanes and steam locomotives.
The German Technological Museum opened its doors in 1983 as "Museum for Transport and Technology". In 2003 the museum underwent a makeover taking a more futuristic look. A Douglas C-47B Skytrain plane also known as “Raising Bomber” from 1948-49 hangs over the entrance to the museum.
There is also a cargo area for the old Anhalter cargo warehouse, on the ground floor of the museum. This is where you will find the "Museum of the future", in the new main building. This area will allow you to learn more about the relationships that surround man and machine, and the rapid advancement of technology. Additionally, if you visit the Science Center, you will enjoy a variety of experiments with electricity, magnets and curious lighting effects. In the engine room you will see steam locomotives and everything related to the world of railways.
It will include no less than 40 historic railroads, including the opulent wagon hall of the last German emperor. One of the models that should not be missed is that of the old Anhalter railway station. Among the airplanes on display stands out the "Tante Ju" (Aunt Ju), a legendary propeller plane manufactured between 1932 and 1952. The museum's maritime history department presents 1,500 pieces from the last 10,000 years. Marvel at a 33-meter long cargo ship from 1840. At that time, this majestic ship operated between the Elbe River and the Vistula River.
Another thing not to be missed is the Naval Simulator, where you can safely captain your boat to the port.
Car lovers will enjoy a varied collection from horse cars to the steam car or the rotating engine. There is even an original “Rumpler Tropfenwagen”, built between 1921 and 1925. There are only two models of this quirky and elegant vehicle in the world.
Take a tour of the museum park, with its breweries and numerous grain mills.
A pair of photographers aim their lenses within this interactive visual art experience, featuring multicolored lighting and various sized balloons that completely filled this enclosed space atop Roppongi Hills Mori Tower.
Olympus OM-D EM-1 with 12-40mm f/2.8 PRO
We are GO FOR LAUNCH!
My new interactive eBook is now available to purchase on my website here: davidgilliver.com/product-category/books/
I hope anyone who buys it enjoys the read, and I hope it becomes a really useful learning and teaching resource for anyone who loves photography!
Thanks,
David
Schloßstrasse
Bernburg (Saale) / Germany
See where this picture was taken. [?]
Here you can see the panorama with the interactive 360 degree viewer
(9 single shots)
© All Rights Reserved - you may not use this image in any form without my prior permission.
Interactive artwork imagined by Thomas Heatherwick and Heatherwick Studio as a focal point where people can enjoy new perspectives of the city and one another from different heights, angles and vantage points.
My favorite Things "birth -yay" stampset", "happy birthday" background stamp and "party" and "fiesta" die-namics.
knipoogcreations.blogspot.com/2021/07/interactive-birthda...
Screencapped inside Napkin while learning how different people interacted on the job during COVID-19.
Fernando Botero's monumental bronze sculptures seem to be very popular among children in Berlin. Since there's no fence around the sculptures, they can be touched… and children know how to take advantage of it.
I shot this bit of video in the Color in Motion: Chromatic Explorations of Cinema exhibit at the Academy Museum of Motion Pictures. In this room we see an interactive screen, where kids really get into the interactive part. Waving their hands around they manipulate the splashes of color projected on to the screen.
A group of friends try out the Interactive Lightbox as a selfie tool.
Photokina is the major biennial imaging fair. In 2014, photokina brought together the industry, trade, professional users and end consumers with a passion for photography in Cologne, Germany for the ultimate photo-fest.
Nikon attends every event and together with the latest cameras, lens and technology, Nikon also provides fans with memorable interactive experiences.
You can view your Interactive Lightbox images here: