View allAll Photos Tagged knowledge
Oil on wood, plaster, gold leaf About 3.5 feet tall and 2 feet wide.
Detail of: flickr.com/photos/21702692@N05/2102534758/
"Knowledge is love and light and vision."
Helen Keller.
My teenage daughter has been through a rough patch of late. Shes been not bothering about school, only caring about her friends and her social life. Shes been not very pleasant to be around at home, mainly due to the sanctions we have had to impose over the school work and attitude problems.
But things came to a head a few weeks ago, and i think we have turned a corner. Her grades are improving, and she is generally a nicer person to be around.
Spending time with her at the beach yesterday, just the two of us, i was reminded what a lovely child she was, and what a lovely, random, funny and endearing young woman she is turning into.
This photo started off as a joke, with her trying to hold the sun in her hands. But it turned into something which i hope matches the title and quote i have given it, and i hope now she has love and light she will maintain her vision and so gain the knowledge she needs to keep growing, as a daughter, a student, a sister and, most importantly, a person.
Creature from the Black Lagoon, 1954
Most monster movie fans have believed for decades that the design of the Creature was the work of Bud Westmoore, but that is not the case. The Creature's "gill-man" design actually came off of the pen of artist Milicent (Millicent) Patrick. Although the fetching young illustrator never got her name in the films credits she was paraded from film screening to film screening in hopes that her model-like good looks would drum up more publicity for the film. Her contribution to the history of monster films has never been fully given the credit that it so deserves. Unfortunately there a far too many such "unknown heroes" in the genre of horror and sci-fi films.
The Creature's appearance was based on old
seventeenth-century woodcuts of two bizarre
creatures called the Sea Monk and the Sea
Bishop. The Creature's final head was based on
that of the Sea Monk, but the original discarded
head was based on that of the Sea Bishop.
Here we have several shots of Milicent Patrick. Patrick was the person responsible for the look and design of the "Creature From the Black Lagoon".
Universal was already famous for iconic "monster" movies. Frankenstein and Dracula became part of the culture. Creature from the Black Lagoon (CBL) is mostly in the same vein of monster-horror flick, but with a little science in its fiction. Unlike magical or demonic monsters, this one is supposedly a "natural" anomaly of evolution. CBL is often classified as sci-fi, so it's worthy of inclusion here.
Budget-wise, CBL is a B movie, but it's a cut above the usual B crowd. The acting was reasonable. The cinematography was impressive. The only "special" effect was the creature's costume. While the Creature is, in many people's mind, THE icon for man-in-rubber-suit monster costumes, something about the creature found resonance in movie-goers. He was strong enough to merit two sequels.
The producers tapped Jack Arnold for director. Arnold, who directed It Came From Outer Space had an excellent eye. His use of many camera locations, angles, framing and cuts, he lets the camera become invisible. Viewers are in the scene, not simply watching it.
The actors didn't get in the way of the story. Richard Carlson was already a big name in the sci-fi movie world. It Came From Outer Space, Magnetic Monster, and Riders to the Stars. Richard
Denning was a hunky star of many westerns and detective movies. He would go on to star in a few more sci-fi films. The female lead, Julie Adams was perfect as the beautiful damsel. The supporting cast were a little quirky at times, but not as stiff and wooden as second-teir actors tend to be.
Synopsis
A old archeologist, working in the remote Amazon, finds the fossilized hand -- somewhat humanoid, but obviously aquatic. He shows it to some other scientists who agree to mount an expedition to find the rest of the skeleton. While Dr. Maia was doing all this, a creature with the same kind of hand tears up his camp and kills his two native helpers. The scientists spend many days digging and sifting, but come up empty. They decide to go further upstream to the Black Lagoon to search. There, they encounter the Gill-Man. The two scientists are at odds over what's best -- capture the creature alive, kill it and bring it back, study it and leave, etc. All this debate becomes moot when the creature begins killing off crew members. The creature barricades the entrance to the lagoon so the ship cannot leave. The expedition becomes a battle for survival. They manage to drug and capture the creature, but it escapes its cage-tank. It kills Dr. Williams. It then captures the beautiful woman, taking her to his cave lair. The men follow, find her and the creature. After taking several bullet hits, the creature staggers away and dives into the lagoon. The final image is of the creature floating downwards, limp and lifeless.
Why is this movie fun?
This is one of those cultural icon movies that even non-fans of sci-fi know. In that regard, watching it like seeing a celebrity in person. Arnold does a good job with pacing and keeping tension up. It's interesting that the creature gets his own theme music, of sorts. Arnold that the same ascending three note phrase, "do da DEEEEE!" accompany each appearance. The creature's mixture of vulnerability and apparent invincibility, kept you off guard. Spear gun hits or bullets seemed to almost take him down, but not quite.
Dueling Scientists -- Dr. Reed (Carlson) represents the "good" side of science. He wants to study the creature, but not interfere or harm anything. He wants to expand the field of knowledge for altruistic reasons. Dr. Williams (Denning) represents the dark side of science. He's focused on the fundraising potential, the economic cost of expeditions. When confronted with the creature, he's all for killing it (not so much for the safety of the others) in order to bring it back for exhibition. This dualism of scientists is somewhat two-dimensional, but works as a sub-theme.
Many B-grade sci-fi films show their low-budget monster as little as possible. CBL breaks that rule in a big way. Viewers get several partial views right away (the hand) and not too far into the film, a full view of him. Since the producers didn't cheap out on the gill-man's costume, viewers aren't let down. He looks, moves and acts much one would think a gill-man would.
The gill-man is not simply a killing machine type of monster. His curiosity with (attraction to) Kay makes him more complex. In the swimming sequence (a strong foreshadow of the swimming girl scene in Jaws), he swims along with her, unseen, in a sort of parallel dance. He, the ancient, strong and primal male matching moves with the lithe, beautiful, innocent female. Some suggest that the gill-man's popularity was how well he echoed the adolescent male condition: awkward, unattractive, misunderstood, full of rage, attracted to beautiful women, but insecure approaching them. The big scene, in which the gill-man grabs Kay off the boat and swims her down to his cave lair is easily a young male fantasy.
CBL has the classic they're-after-our-women scene. It lives up to the poster art. The gill-man grabs the woman and runs (swims) off with her. He carries her in his arms toward his lair. Unlike other versions of this classic image, the gill-man appears to actually want the woman.
2018-09-05: African Development Bank staff members at Knowledge Cafe during the Evaluations for Greater Impact in Bank Operations, Abidjan, Côte d'Ivoire.
As part of the required course knowledge pupils need to be able to outline the process involved in taking a square wooden blank and preparing it for turning between centres. These pictures depict that process chronologically.
Stage 1 * Preparation of wooden blank. Cut to size. Sand square. Mark across diagonals. Centre punch the centre point. Use spring dividers to mark circumference. Repeat on other end.
Stage 2 * Plane off corners down to circumference line. This takes cross section from square to octagon. This reduces force on cutting toll in initial prep of blank. Mount between fork [driven] centre and dead [or live ] centre at tailstock end. Apply grease a dead centre end. apply force from tailstock end to force fork into material at driven end. Adjust toolstock height to suit. Check for clearance.
Stage 3 * Roughout using scraper to diameter. Use combination of gouges and skew chisels to add beads and other decorative detailing as required. Ensure spindle speed is appropriate for material and cross section under consideration. Obey all safety instructions.
Speed Geeking at the Share Fair -
Knowledge Sharing for Agricultural Development and Food Security. FAO, Rome. 20-22 Jan 2009.
more at www.share-fair.net and ictkm.wordpress.com/tag/sharefair09/
Landfill is in aquifer recharge zone
Pictures by for Lowndes Area Knowledge Exchange (LAKE),
Valdosta, Lowndes County, Georgia, .
www.l-a-k-e.org/blog/2013/09/landfill-is-in-aquifer-recha...
Une bibliothèque, au-delà de son aspect pratique, c'est aussi très joli à regarder. Donc sans trop de chichis, une petite photo d'encyclopédie !
If you would like to be an Illustrator Ninja or amplify software skills and knowledge this course is just right for you.
We would like to invite you to attend Adobe Illustrator Training Course For Absolute Beginners.
The classes will take place in the center of Aarhus at Startup City – Nørrebrogade 22-26 // www.startupcity.dk
Saturday 16th February 2013 from 11.00 till 15.30
The training will be held by Dawid Palen, Creative Director at Dawid Palen Design Consultancy // www.dawidpalen.com
The course is tailored for those new to the Adobe Illustrator software and wishing to gain an introductory understanding of the program. Dawid will teach you the basics and key features of the application. The training covers how to use the core drawing and shape tools and everything from transforming, editing and positioning objects to applying colors and gradients. After the workshop you should be able to create simple icons, logotypes, illustrations and graphics like one at the top of this page. Just remember to bring your own laptop with software installed.
For 200 DKK you will get 4 hours of lecture incl. coffee/tea/water, cakes and fruits.
Lot of fun and of course during the break there will be a time to get to know other designers and illustrators.
There are just 8 seats available. Don’t wait... book your space today!
For additional info and reservation call Dawid +45 42 36 12 18 or mail: dawid@dawidpalen.com
made in collaboration with: Dawid Palen Design Consultancy & Startup City
隨筆閒聊：關於學藝不精
自幼便認為自己繪畫頗有天賦，讀美術學校時，成積好不在話下。老師教導一定必須先講理論、技法、概念等等，之後才會讓學生動筆，而一定也是基本功必須先練好。每年學校都有一次作品展，有一次主題訂好後，內容可以自由發揮，但老師警告大家，畫什麼都可以就是不可以畫人像，因為我們能力不夠領會奧義，無論你畫得再好一定給0分，偶這成績優異鐵齒白目的小子，自然不把老師講的當一回事，出展後，老師也很給面子，給了我不及格分數，這是我第一次拿到不及格。這是給我一個非常好的啟發，自己丟臉沒關係，但總不能丟老師的臉。那怕是現在我玩攝影已經20幾年，也在業界打混過幾年，初期沒10年我還真不敢拿出來獻寶。直到這1-2年才敢收學生。
現在的人拿手機、傻瓜相機拍照OK普及很好，偶沒啥意見，但很多人拿的單眼才沒幾年搞得好像大師一樣。
前一陣子我遇到一位格西，自己也覺得專研多年佛學，有個問題很難理解，於是請教格西，他說縱使他學佛30餘年也無法保證能解釋的好，這要看問題的目的與方向，我一再央求請他簡單解釋一下即可，格西打死不願說，我想他畢竟不了解我的程度，萬一令我錯解在戒律上可是有過失的。如同先前所述，老師用意是值得尊敬的。
很多學問都是一致的求學過程，現在的人太沒有耐性了，按讚多就以為受肯定，殊不知這會害死自己。我發現越媚俗的東西按讚等比擴大，有深度的則反之，習慣了自然就墮入俗套了。深度的創作都是條孤獨的道路，我跟學生說過，100個外行人對你按讚是一點幫助也沒有，那怕是僅一位高手來對你肯定，那才是勝過千百人莫大的鼓勵。
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PS.很多網站都說要你建立良好社交關係(多去吹捧他人)，你的作品才會得到個多讚.......讚你個頭，我不想藐視專業，更不想害死你。我當然會按讚，但起碼我是認真的!!
Designer: Liaoning People's Anti-aircraft Office (辽宁省人民防空办公室)
1972, December
General knowledge about chemical weapon defence. Protection against poison gas
Fang huaxuewuqi changshi. Dujide fanghu (防化学武器常识; 毒剂的防护)
Call nr.: BG E17/153 (IISH collection)
From series: People's anti-aircraft education posters Renmin fangkong jiaoyu guatu (人民防空教育挂图).
More? See: chineseposters.net
I came across this for sale here in the UK on the web , I have known of this truck for a while and it looks like a great restoration although I have never seen it in the flesh. It has had a car interior fitted at some time as originally the pickup only came with a bench seat and plain door trims (no pockets) and with only a ribbed rubber floor mat. Also Austin commercial vehicles of the period had the dashboards and window trims painted with a"wood" effect. very nice and good to see ! here is the story that was attached to it......
For sale the worlds rarest pick up the Iconic Austin A70 Hereford ,it is the most coveted pick up in the UK if you are a classic commercial fan this is the one for you !
The pick up was registered in 1951 in Australia keeped in a dry climate until June 2004 then brought to Ireland after that bought by my self in 2008 in the Uk , When we bought (Pee Wee ) as he is known back we could not believe how lovely he was in condition totally original , it was then decided to bring him up to show condition as he is now , being totally bare metalled striped and painted to the highest of standard by H & R Motors of Darlington everything that needed to be replaced was sourced and replaced in great detail , then it had a mechanical over haul by our local classic mechanic (Stan Ingelby ) renowned in our area for his classic knowledge and his mechanical workmanship , So this pick is the best you will find it has only done 24,000 miles I was told the mileage was correct and it only had 1 previous owner , carpets new ,seats new ,Crome New , tyres New , Pee Wee is something very special and he deserves a loveing home , I will state that you will not find a better one if you could even find one at all !! ! That says it all NOW SOLD
As part of the required course knowledge pupils need to be able to outline the process involved in taking a square wooden blank and preparing it for turning between centres. These pictures depict that process chronologically.
Stage 1 * Preparation of wooden blank. Cut to size. Sand square. Mark across diagonals. Centre punch the centre point. Use spring dividers to mark circumference. Repeat on other end.
Stage 2 * Plane off corners down to circumference line. This takes cross section from square to octagon. This reduces force on cutting toll in initial prep of blank. Mount between fork [driven] centre and dead [or live ] centre at tailstock end. Apply grease a dead centre end. apply force from tailstock end to force fork into material at driven end. Adjust toolstock height to suit. Check for clearance.
Stage 3 * Roughout using scraper to diameter. Use combination of gouges and skew chisels to add beads and other decorative detailing as required. Ensure spindle speed is appropriate for material and cross section under consideration. Obey all safety instructions.
Blended Fighting style describes the advanced system of combating made use of by world-renowned boxer BJ Penn. Penn, among one of the most technological as well as enhanced boxers worldwide today, highlights battling methods that instruct you the best ways to blend strikes with takedowns, ground as well as extra pound a challenger right into
www.estore.1800mmaplanet.com/mixed-martial-arts-the-book-...
Vyjayanthi Kashi
Dancer par excellence Vyjayanthi Kashi’s career spans over an impressive spectrum of performance, choreography, teaching acting and research. Her works has been featured in several International festivals including the Oriental Dance Festival Germany, Festival of India in Africa, India Film Festival in Malaga, Olympic Festival in Italy, First International Kuchipudi Dance Convention at California the dance and music festival in US, International Dance & Music Festival in Egypt, Malta, Tunisia, Karmiel Dance Festival in Israel and many more.
She serves on the Arts and Cultural Committee of the Ministry of Tourism and Cultural, Government of India. Founder of the Shambhavi School of Dance she has trained many dance aspirants round the world. She has been honored with several awards including Kala Shree, Zee Astitva, Araya Bhatta and Vocational Excellence Awards. She was recently awarded with the Central Sangeeth Natak Academy Puraskar, the Rajyotsava award 2010 for her contribution to Kuchipudi and more. She has recently been appointed as the Chairman of the Karnataka Sangeetha Nritya Academy.
Ms. Prateeksha Kashi
As a child, it is said that Prateeksha sang and danced the whole of the dance drama AMBE from Mahabharata when she was just three years young. Ever since, she is being trained in Kuchipudi under the guidance of her mother and Guru Smt. Vyjayanthi Kashi. At the age of thirteen, Prateeksha topped the state in the Kuchipudi dance exams with a distinction. Prateeksha has presented solo performances in many prestigious festivals in India and abroad to mention a few , Festival of Dance – Los Angelis, Dance Festival – New York, Milap Festival – U K and more…
She is a recipient of “Nalanda Nritya Nipuna”, an award instituted by the Nalanda Dance Research Centre and also a recipient of the prestigious scholarship from the Ministry of Culture, Govt of India. Prateeksha also has the credit of being featured in many dance productions for the television media and is a graded artist of the Doordarshan Kendra. She is now dancing and playing prominent roles in almost all the dance dramas with her seniors for many national dance festivals.
Concept Note
This compilation is an attempt to map the evolution of the ‘Kuchipudi’ dance form which originally was performed only as a dance drama to its current form where the solo format of presentation also has gained in popularity. The journey of the accompanying music & choreography as they changed with the evolution is also captured.
1) Salutations to Balatripurasundari
The presentation begins with a salutation song to Kuchupudi Vani also known as Balatripurasundari the goddess of the kuchipudi village. This composition by Nritya Vachaspati Guru Vedantam Parvateesam heaps praises on Kuchupudi Vani and the richness of the art form. She is praised for her mellifluous vocals, chatur-vidha abhinaya & navarasa skills.
2) Shrusthi:
Shrushti or the emergence of the universe resulted from pranavanadham , the om or omkara. The universe being made up of the Pancha Bhutas – aakasha, vayu, agni, jalam and pritvi whose combination gives way for life or jeevothpattas . Life after undergoing different stages of evolution culminates into the human form filled with all the worldly desires or kama, Resulting in – Janma Janmantharam, Karma Karmaantharam { Kalaya Thasmai Namaha} . Vyjayanthi Kashi has weaved the beejaksharas Ham, Yam, Ram, Lam and Vam corresponding to the five elements into the jatti format.
3) Tarangam:
This is a special number in Kuchipudi. The song accompanying this number is from the well-known “Krishnaleela Tarangini”, a text that recounts the life and events of Lord Krishna by Saint Narayan Theertha who uses various literary and musical forms such as songs, prose passages, slokas & dwipadis.
Vyjayanthi Kashi has knit in the various literary aspects of this musical opera into this tarangam “Pahi Pahi Pahi…”along with the melody of the swaras and tanams . A special element of skill is involved here. The dancers use various pada karmas and dance on the rim of a brass plate. The brass plate is the symbol of Karmakanda: one's field of activity. And the dancer is a Karma Yogi: highly disciplined with the knowledge of some footwork. Dancing on the rim indicates the human possibilities to reach beyond the limits
Raga Amruta Varshini, tala Adi
4) Thillana:
The concluding presentation is Thillana. It is a salutation to the Sun God symbolizing that the end is the beginning. Choreographed to rhythmic intricacies and choreographic patterns, this thillana is a tribute to the fact that a performance never truly concludes but like the rising of the sun it is the beginning of many more to come.
Decided for some exercise whilst visiting the University of Southampton today. The chosen stairs looked very photogenic so here we are.
Servicemembers and DOD civilians participate in Exercise Saber Junction Phase II at Grafenwohr, Germany. The Command Post Exercise draws together different services in an effort to better understand the difficulties and challenges of foreign consequence management as it relates to natural disaster assistance and a simulated follow on industrial chemical spills.