View allAll Photos Tagged interruptor
'We broke the hare’s neck
And made that place, for a moment,
The most important place there was'
Devised from documentary research into memories and Norman MacCaig’s poem 'Interruption to a Journey', this play combines naturalism with physical theatre and music to create a haunting and beautiful tale.
Cambridge University Amateur Dramatic Club.
All photographs copyright 2012©PHH Sykes
Please be in contact if you wish to use them
phhsykes@googlemail.com
It's hard trying to film our app in the wild, random strangers keep interrupting to find out what's going on
In the Nativity facade on the front of the church there is a large cypress tree covered with doves. This is a sign of purity.
Sagrada Família is a large Roman Catholic church in Barcelona, designed by Catalan Spanish architect Antoni Gaudí. When work began on the project in the 1880s it was anticipated that completion would take 200 years. Early on Sagrada Familia's construction progressed slowly relying on private donations. Work was interrupted by the Spanish Civil War, only to resume intermittent progress in the 1950s. Construction passed the midpoint in 2010 and now the anticipated completion date is 2026, the centenary of Gaudí's death. When work began on the project in the 1880s it was anticipated that completion would take 200 years.
As should in the photo, the immense scale of the building makes it very difficult to accurately capture the magnificence of the structure in a photo. It has been said that it is impossible to find a church building anything like it in the entire history of art and that it is the most extraordinary personal interpretation of Gothic architecture since the Middle Ages. I, myself have never been more impressed by any creation of man.
Taken using the Nikon D800 with a Nikkor Ai 50mm f/1.4 lens shot wide open. Processed using the Perfect B&W 8 Beta.
'We broke the hare’s neck
And made that place, for a moment,
The most important place there was'
Devised from documentary research into memories and Norman MacCaig’s poem 'Interruption to a Journey', this play combines naturalism with physical theatre and music to create a haunting and beautiful tale.
Cambridge University Amateur Dramatic Club.
All photographs copyright 2012©PHH Sykes
Please be in contact if you wish to use them
phhsykes@googlemail.com
the tranquility of the park is interrupted a little by the large concrete canyon of the HS1 tunnel portal
Episode 763 of David's Pointless Minute
I love that playing with the paint can help you work through frustrations like interruptions.
Yesterday I was feeling a little cranky about morning interruptions while I was doing my creative stuff. (Morning is my best creative time.) So I vented by doing this mandala ... but by the end I was laughing at myself. So it's not a pretty page, but it certainly served a purpose.
Still, I do dream of a more private art-making space, because interruptions are a pain in the patoo.
foto scattata per il gruppo perchè la guerra / why the war
Perchè la guerra
Consiste nel registrare, con differenti dispositivi, una domanda aperta sul tema della guerra, un perché, e immetterlo in rete, facendolo scorrere attraverso i social network e i mondi virtuali tridimensionali. Per provare a incrinare il senso, fortemente, quotidiano della guerra. Per interrompere l'immagine positiva che ha assunto nell'immaginario mediatico. Per immettere dubbi nelle troppe verità costruite per giustificarla. Ampliando la raccolta in tutte le direzioni che i new media permettono, si potrà intravedere il modo in cui le culture la combattono o la accettano. Generando una moltitudine di voci, volti, parole, lingue che raccontano le proprie versioni di realtà, differenti e contrastanti, si potrà attivare una riflessione critica sul concetto di guerra e sulla sua presenza nel quotidiano che abitiamo.
Il progetto nasce dalla sperimentazione di arte globale di Giuseppe Stampone www.giuseppestampone.net e Solstizio www.progettosolstizio.net ed è sostenuto da ProgettoMondo MLAL www.progettomondomlal.org.
Come partecipare
- postare ritratti in formato medio (non necessariamente auto-ritratti), di cui sia ben visibile il volto, accompagnato da un cartello con un perchè riguardante la guerra.
- il titolo della fotografia deve essere costituito dal nome e dalla provenienza della persona fotografata (es. Mario Rossi, Roma - Italy).
- aggiungere i tag "perchè la guerra" e "progetto Solstizio".
- le fotografie postate saranno preventivamente visionate e approvate dagli amministratori e dai moderatori, prima di apparire nel pool del gruppo.
- le fotografie inserite in questo gruppo confluiranno poi nello spazio flickr di Progetto Solstizio (http://www.flickr.com/photos/progetto_solstizio/), in un set dedicato ai perchè della guerra.
Why the war?
The project consists in recording, through different tools, an open question about the war, a “why”, and in publishing it on the web, spreading it through the social networks and the three-dimensional virtual words. This to try to crack the sense strongly daily of the war. To interrupt the positive image that it has put on in the media imaginary. To introduce doubts in the too many truths, built to justify it. Broadening the collection in all directions that the new media allow, it can will be noticed the way in which the different cultures fight or accept it. Generating a multitude of voices, faces, words, languages that tell their different and contrasting version of the reality, it can will be activated a critical reflection about the concept of war and its presence in the our daily lives.
The project is born from the Giuseppe Stampone global art experimentation www.giuseppestampone.net and Solstizio www.progettosolstizio.net and is supported from ProgettoMondo MLAL www.progettomondomlal.org.
How can you take part in it
- post portraits in medium size (not only self-portraits), where the face be well visible, with a sign with a “why” about the war.
- the title of the photo has to contain the name and surname of the person in the photo (es. Mario Rossi, Rome – Italy).
- add the tag “why the war” and “progetto Solstizio”.
- if possible, add also a geo-tag.
- the photos of this pool will be collected in the Flickr space of Progetto Solstizio (http://www.flickr.com/photos/progetto_solstizio/), in a set dedicated to “Why the war”, and can be spread through the other social networks.
Sinónimo: Wallia cinerea (Linnaeus) Alefeld
Árboles de hasta 20 (-30) m. Corteza gris claro o marrón grisáceo, ligeramente dividida en placas lisas o escamosas. Ramitas con el borde distal de la cicatriz de la hoja recta o casi, bordeadas por una cresta aterciopelada bien definida de color gris tostado; médula marrón oscuro. Brotes terminales cónicos, aplanados, 12-18 mm. Hojas de 30-60 cm; pecíolo 3.5-12 cm. Foliolos (7-) 11-17, ovados a lanceolados o oblongo-lanceolados, ± simétricos, (2.5-) 5-11 (-17.5) × 1.5-6.5 cm, márgenes serrados, ápice acuminado; superficies abaxialmente con abundantes pelos fasciculados de 4-8 rayos, escamas y, a veces, pelos capitados-glandulares, axilas de venas proximales con mechones prominentes de pelos fasciculados, adaxialmente con pelos fasciculados dispersos o volviéndose glabrescentes; Folleto terminal presente, generalmente grande. Amentos estaminados 6-14 cm; estambres 7-15 por flor; sacos de polen de 0.8-1.2 mm. Frutos 3-5, elipsoides a ovoides o cilíndricos, 4-8 cm, lisos, con pelos capitados-glandulares densos; nueces elipsoides a subcilíndrica u ovoides, 3-6 cm, superficie con aprox. 8 crestas principales altas, estrechas y longitudinales, con crestas longitudinales estrechas, interrumpidas o láminas entre las crestas principales- Bosques frescos en terrazas fluviales y valles, también laderas rocosas secas; de preocupación de conservación; 0-1000 m. Noreste de estados Unidos . En iturraran se ubica en la zona 5.
Synonym: Wallia cinerea (Linnaeus) Alefeld
Trees , to 20(-30) m. Bark light gray or gray-brown, shallowly divided into smooth or scaly plates. Twigs with distal edge of leaf scar straight or nearly so, bordered by well-defined, tan-gray, velvety ridge; pith dark brown. Terminal buds conic, flattened, 12-18 mm. Leaves 30-60 cm; petiole 3.5-12 cm. Leaflets (7-)11-17, ovate to lanceolate or oblong-lanceolate, ± symmetric, (2.5-)5-11(-17.5) × 1.5-6.5 cm, margins serrate, apex acuminate; surfaces abaxially with abundant 4-8-rayed fasciculate hairs, scales, and sometimes capitate-glandular hairs, axils of proximal veins with prominent tufts of fasciculate hairs, adaxially with scattered fasciculate hairs or becoming glabrescent; terminal leaflet present, usually large. Staminate catkins 6-14 cm; stamens 7-15 per flower; pollen sacs 0.8-1.2 mm. Fruits 3-5, ellipsoid to ovoid or cylindric, 4-8 cm, smooth, with dense capitate-glandular hairs; nuts ellipsoid to subcylindric or ovoid, 3-6 cm, surface with ca. 8 high, narrow, longitudinal main ridges, with narrow, interrupted, longitudinal ridges or lamellae between main ridges. Rich woods of river terraces and valleys, also dry rocky slopes; of conservation concern; 0-1000 m. NE USA . In iturraran is located in area 5.
This shows the interrupter valve control (top) with pipes curving round the rotation locking handle, between them you can see the rubber rings of the rotation stop buffers. Underneath that is the conduit for the intercomm cables.
During World War 2, a small plane off the south coast of America is low on fuel and blown off course by a storm. Guided by a faint radio signal, they crashland on an island. The passenger, his manservant and the pilot take refuge in a mansion owned by a doctor. The easily-spooked manservant soon becomes convinced the mansion is haunted by zombies and ghosts. Exploring, the 3 find a voodoo ritual in the cellar, where the doctor is trying to acquire war intelligence by transferring personalities into his zombies. But the interruption causes the zombies to turn on their creator.
Starred Dick Purcell, Joan Woodbury, Mantan Moreland, and Henry Victor. Directed by Jean Yarbrough.
The Interrupters played St. Louis April 1, 2019. Lots of super fun photos of their performance and opening bands online at St. Louis Magazine (originally photographed for them): www.stlmag.com/culture/music/photos-the-interrupters-mask...
I interrupt the Chiang Mai photos with these photos that I took about half an hour ago. It's snowing in London (yes, it's still snowing). And it's April. Weird.
I'm still at home in my pajamas but I do need to go out to get some baking supplies. Perfect day for baking but not so perfect day for going out.
November 6, 2018 at 10:00amuntil November 18, 2018 at 4:00pm at Wellgate Shopping Centre
This group exhibition curated for NEoN by Weave by Abertay brings together works of gaming and design, alongside other hybrid creations that reflect on the endlessness and expansive nature of our digital lives. Cassie McQuater’s game, Black Room, explores infinite spaces and weird dreams you might have when you fall asleep at your keyboard. Hadi Mehrpouya and Robert Powell’s work, is a series of prints and a unique ‘search engine’ that invites you to identify your internet ailments such as Data Diarrhoea or Infolepsy; a Google-esque spiraling symptom-search of some invented techno-diseases.
The significant early networked game “The Endless Forest” by Tale of Tales is a meditative repose, perhaps a remedy to the neverending digital deluge, as you roam aimlessly around a beautiful landscape in the form of a deer. In this exhibition you can go from being lost in the woods, to a new state of self-awareness through the generative work of designer Marius Watz’s large scale colourful geometric wall prints. UCracking shows what happens when you break on through, and interrupt the cycle of the algorithm, fracturing and ‘cracking’ up virtual space.
About the artists
Tale of Tales (BE) – Auriea Harvey and Michaël Samyn met online in the romantic age of cyberspace. Separated by an ocean they created applications that allowed them to touch among the wires. Samyn and Harvey are currently remaking The Endless Forest so that it can live another decade and provide a new generation of players with a joyful haven in cyberspace.
Cassie McQuater (USA) – is a new media and video game artist currently living and working in Los Angeles, CA. Her practice involves hours of surfing the net, mining for digital artifacts, and repurposing them as a way to reflect on and reinvent our relationship with interactive storytelling.
Marius Watz (NO) – is an artist working with computer code as a creative material to produce bold geometric abstractions based on algorithms. He has exhibited widely internationally, and is a lecturer in interaction design at the Oslo School of Architecture and Design
Hadi Mehrpouya (UK) – is a lecturer in computer games technology at Abertay University and digital artist. His research interests are in Science and Technology Studies. He is currently finishing his PhD at University of Edinburgh looking at the role of search engines and social media in how we acquire and disseminate knowledge.
Robert Powell (UK) – is an award winning visual artist based in Edinburgh. His etchings are designed to provoke a laughter that verges on panic. His most recent solo exhibition was Between the Lost Places at the Fine Art Society in Edinburgh which took as a theme cartography and travel.
Image Credit: Kathryn Rattray Photography
Hate being interrupted by relatives or neighbours while eating Al Fresco?
You need a patio set from these guys...
-March 5,2010-
..."The effectiveness of work increases according to geometric progression if there are no interruptions."
~Andre Maurois
See it better and buy a high quality print here :
www.saatchionline.com/profiles/portfolio/id/313788
www.redbubble.com/people/julienmenet
JulienM.imagekind.com/