View allAll Photos Tagged nonexistent
Okay, on New Years Day, 2011, on that bridge, I wasn't contemplating anything more drastic than photographing the bridge and, if possible, its bridge plate.
The plates were long gone, but that wasn't what was troubling me.
The pressing need of a car repair, inconvenient in time and dollars, was on my mind, with some other things that now seem too trivial to note, to remember, for that matter, since memory doesn't serve me as I type this.
The day was beautiful, though, crisp, clear and breezy, and we were starting 2011 exploring, maybe following that up with some Mexican food.
A fellow with a pack had been walking toward the bridge, along the fence line at the edge of the drainage easement. He was dressed warmly, with a stocking cap and worn trousers and very very worn shoes.
As we were returning from a futile quest for the bridge plate on the north end of the bridge and better luck with an angle for a shot, the fellow was standing on the sidewalk on the south end of the bridge.
We stopped to wish him a Happy New Year and to comment on the beauty of the day. His English was less than perfect and my Spanish is (I'm ashamed to say) essentially nonexistent, but he managed to eloquently communicate that it was indeed a good day, when people could meet and greet in such a way and share good will. He communicated how fortunate we three were, with health and friends and love and basic needs met.
Occasionally casting eyes and hands toward the sky, as he spoke, Julio made clear where he felt the source of all this wealth resided.
Handshaking and hugs were certainly appropriate and were shared.
When I asked if I could take a picture of him, he swept the knit cap off his head and struck this pose.
We left feeling that whatever worries we'd brought to the bridge were not really so important after all.
If, as old movies would have us believe, special encounters can happen at this time of year on bridges, and if those encounters might also be experienced by those with too too trivial concerns, then Julio might, someday, look very good with wings.
My lashes are virtually nonexistent. So, I think being able to adhere false eyelashes should be on my bucket list. I've tried and can't do it. But, I won't give up.
Just a warm up to see if I still got the stuff.
ahem.
Orion is the off-the-record, no limits, last resort option for one of the few governmental offices that I aren't puppet to the major corporations.
While NINE (New InterNational Enforcement) remained free of the corporations, it realized that its power was basically nonexistent due to the rest of the government functions being puppets. It created the Orion project in order to use what power it had to create a secret, brutal, and elite group that could illegally do what NINE was meant to do: protect the peace and rights of the people.
While sometimes employing questionable ethics, Orion is the secret hand that fights both chaotic hackers and corporate mercenaries on behalf of the abused common people that fill the dark residential districts of the city continent.
While imperfect, they are one of the few pure lights in the dark future.
Another cyberpunk gun.
I'll answer a few foreseen questions right now:
1. It is caseless.
2. While the the mag feeds at the very back, that is not where the mag is. As is common in guns of this theme, the mag doesn't feed directly below the bolt/firing mech.
3. This was done to look cool, as all my guns are, and thus there will most likely be many technical issues which I never considered.
Oh, yes, in case you are interested, here is the pastie:
feel free to modify.
comments and feedback are very welcome.
EDIT: no ninjas this time, hurrah!
You probably can't really tell from looking at this, but the Gemini symbol is atop a 8 or 9 foot stone thing with organizations and names inscribed in it. They are, to the best of my knowledge, the contributors to the Gemini space program. Right after I got to the park, a group of 4 or 5 teenagers showed up, and the guy pictured above figured he'd just climb on up there. Shortly after, the girl climbed up there, too.
Funny side note... I know I'm getting old, because when I walked by, the guy was talking about getting all the way on the top, and I just could not stop myself from saying "I think I'd be more careful up there than climbing to the top." Or something lamer like that. Even more amusing is the boy and the girl both looked at me and said in unison, "oh, we're being careful." First of all, like I really gave a crap one way or the other. Secondly, like they had to answer to me in any way... what the heck?
So, I'm walking by, and the kids are asking their friends to take a picture. I stood there and watched, with thousands of dollars of photography gear strapped to my person, and they looked at me and asked if I wanted to take a picture. Then, the boy on the monument pointed at me, and said "hey, is that your dad?" Thanks, dude - I ain't that old... And again, lamer response "No, I'm just some random dude." Gimme a break, I was tired.
So, obviously, I took their picture, and went about my business (which was to retrieve the tripod I left leaning against the rear wheel of my car - kind of need that - I was waaay tired - I even had to go back for the other tripod I put on the ground while I was taking this picture before I could go back to the car to get the other tripod).
On the way back into the park, the kids are off the monument, so I set up the tripod to take some pictures of it (the lighting sucks - too bright in some areas, nonexistent in others, won't be seeing those). As I'm fiddling with the camera, one of the kids, barely within earshot says something, and the part I hear is "No, just some random asshole." Heheheheh. For some reason, I think that's funny.
So, I posted this photo of those zany kids on the Gemini monument, just so I could tell you the story.
A view from the resturant in a town south of Santa Cruz
Here's a quick recap:
I arrived thursday, got to the hotel around 5 or 6. First thing was going down to the beach. I went to the Natural Bridge state beach. The pacific was awesome. Warm and sunny. Drove along the ocean front down to Santa Cruz's board walk and Wharf. Enjoyed the view, walked around and ate dinner. Then passed out in the hotel room.
Friday, Went to UCSC. I went in the morning and it was pretty foggy and cooler. The campus was amazing. Its spread around in a red wood forest. The atmosphere of the place was really relaxed, people were nice, it didnt seem packed full of people or really busy. and its on a hill that overlooks the bay (which is about a mile or 2 away), the view of views. Also, there werent any fat chicks - none at all in the whole area. Thats always a plus.
Went back into town, ate lunch. All the food seems to be locally grown. That whole organic thing, with free range chickens and like. Went in to Monterey. It fogged up again there after the sun came out for a couple hours. got there kinda late, some of the places like the aquarium were already closed. Walked around cannery row , it had some neat shops,and like most places it was along the coast. Drove into carmel for dinner, to eat at some clint eastwood mission place. Very money, but again...the view, the food, it was all delicious.
Saturday. Drove along Highway 1 to San Francisco (it was foggy and raining a little - but the imagery was still beyond anything ive seen). The West coast is SO different then the easy. Its insane. With a mountain on one side, and beaches/ cliffs/ the ocean on the otherside is spectacular. Traffic was nonexistent until close to SF. Then it was DEAD Still. I thought traffic was bad here, but this was insane.
First I went up to Berkeley. The campus is VERY different from UCSC. The buildings are amazing. HUGE, white, pillars, stunning. It was very open, alot of people (33,000 in 179 acres). In the middle of the city. On bothsides was cars, people, alot of shops - but the campus itself looks nothing like that. Contrast to UCSC which is in the woods, 2,000 acres and 13,000 students.
Made it down to SF, saw the park - drove across golden gate, went to the view point. A good look of the whole city. Went into china town, by then it was 8 and getting dark. didnt know where to eat - picked a place that had people in it and was very dissapointed by the food. It was late by then with a long drive in the dark, in the mountains on roads we havent been to.
Had ice cream in santa cruz, slept. Got up at 5am this morning - flew, here.
Mart Stout, who worked for 13 years as an intelligence analyst with the State Department and CIA, discusses American intelligence operations during World War I that ranged from aerial photography missions and code-cracking to efforts to secure the homeland against spies and saboteurs. “By looking at that, you can understand a lot about how it’s done today,” Stout told his audience at the Kansas City Public Library. Among other initiatives, he pointed out, the U.S. employed renowned archeologists to search for suspected (and ultimately nonexistent) secret German submarine bases in Mexico and elsewhere in Central America. (Photo by Steve Wieberg, KCPL)
SOOC
The queen-Pablo Neruda
I have named you queen.
There are taller ones than you, taller.
There are purer ones than you, purer.
There are lovelier than you, lovelier.
But you are the queen.
When you go through the streets
no one recognizes you.
No one sees your crystal crown, no one looks
at the carpet of red gold
that you tread as you pass,
the nonexistent carpet.
And when you appear
all the rivers sound
in my body, bells
shake the sky,
and a hymn fills the world.
Only you and I,
only you and I, my love,
listen to it.
The structure is similar in texture to the United States pavilion from Expo 67 in Montreal, but unlike that structure, Spaceship Earth is a complete sphere, supported on legs.
Geometrically, Spaceship Earth is a derivative of a pentakis dodecahedron, with each of the 60 isosceles triangle faces divided into 16 smaller equilateral triangles (with a bit of fudging to make it rounder). Each of those 960 flat panels is sub-divided into four triangles, each of which is divided into three isosceles triangles to form each point. In theory, there are 11,520 total isosceles triangles forming 3840 points. In reality, some of those triangles are partially or fully nonexistent due to supports and doors; there are actually only 11,324 silvered facets, with 954 partial or full flat triangular panels.
The appearance of being a monolithic sphere is an architectural goal that was achieved through a structural trick. Spaceship Earth's is in fact two structural domes. Six legs are supported on pile groups that are driven up to 160 feet into Central Florida's soft earth. Those legs support a steel box-shaped ring at the sphere's perimeter, at about 30 degrees south latitude in earth-terms.[6] The upper structural dome sits on this ring. A grid of trusses inside the ring supports the two helical structures of the ride and show system. Below the ring, a second dome is hung from the bottom, completing the spherical shape. The ring and trusses form a table-like structure which separates the upper dome from the lower. Supported by and about three feet off of the structural domes is a cladding sphere to which the shiny Alucobond panels and drainage system are mounted.
The cladding was designed so that when it rains, no water pours off the sides onto the ground. (All water is "absorbed" through one inch gaps in the facets and is collected in a gutter system - and finally channeled into the World Showcase Lagoon.)
Spaceship Earth
Future World
Walt Disney World EPCOT Orlando Fl.
Photo info:
Main Street Helen, GA-2007. Personal collection. Photographer Tiffany Horn.
The above photo is a picture of current day Helen, GA. As shown in one of my previous photos, Helen has gone under a complete makeover in its physical appearance. Helen was close to being nonexistent in the many years following World War II. It was suffering from lack of business and population was decreasing. There was a need for an answer to the solution, and it would soon be given to the town by an artist inspired by time spent in a foreign country.
It was 1967 and Helen was on the verge of being considered a business ghost town. There were only nine concrete buildings standing, and all were empty. No income was being brought to the town. Three local citizens of Helen, Jim Wilkins, Pete Hodkinson, and Bob Fowler, were on a mission to better the town and turn around the economy. They were given help by an artist, who was a frequent visitor to the area and a native of Habersham County, with his European ideas.
John Kollock had spent a year touring in Bavaria while he was active in the U.S. Army. During that year he fell in love over the aesthetics of the Bavarian village. After easy persuasion by the Helen residents, Kollock toured and overviewed the entire town for possible suggestions of changes that could be made. The idea was to accent the beautiful rolling hills and forest surrounding the concrete center of Helen. It was shortly after his observations of the cities abandoned streets nestled in the middle of natural beauty that Kollock began to think of his year in Bavaria. He knew that bringing a Bavarian feel to the town would give a new twist to the area, and bring lots of business opportunities. After consulting with the Helen officials, Kollock began working on sketches of the new look for Helen. He had finished with his perspective drawings on January 3, 1969. Less than two weeks later, on January 13, 1969, the first nail was driven symbolizing the start of great changes to come.
From the late 70s to the late 80s, constant increase in real estate, retail sales, and developing businesses was occurring. The benefits of Kollock’s ideas were showing up through out the town. When asked about his initial idea, Kollock replied, “Helen was a perfect place for this kind of Alpine Architecture.” Now Helen is going strong and striving off of its main industry focus, tourism. It offers many services such as German-based and American restaurants, local bars and pubs, and many shops that encompass Bavarian goods of different sorts. Helen is still, however, to keep that cozy Georgia small town feel with its local country stores and granaries. After a long century of dealing with hardships in its economic stability, Helen has finally found its niche that has brought it great success.
Anglen, Polly H. “Today’s Playground; Tomorrow’s Gatlinburg?” _North Georgia Journal_ (Winter 1989-90): 20-25.
Speath, Susan. “Hoedown, Helen Style.” _The Daily Times_. 29 October 1970. Sec. 6C.
For more information on Bavaria, visit: en.wikipedia.org/wiki/Bavaria
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
Art collection
At first sight I was charmed and embraced this as sculpture, acquiring it with no knowledge but suspecting a good story lay in wait. Western interest in these mid-20th century Japanese incense burners (koro) is nonexistent, so I was up against both a backstory and language challenge…and the sorting out of two involved artists.
Saegusa Sōtarō (right) is one of the most famous Japanese metal artists of the 20th century and is credited with the original design of this koro. He is now collected by many museums, and many of his large-scale monumental works are installed in public spaces in many cities throughout Japan. (left)
Manyo Keisuke (sometimes translates to “Keikusaku”) is a Japanese metalwork artist credited with bringing this Sotaro design to life. He is celebrated for his refined bronze casting and distinctive surface treatments such as the “aokin-fun” finish, present here and highly regarded among art enthusiasts and collectors.
At some point in the 1950s/60s Manyo Keisuke brings to life the Saegusa Sotaro design of a Green Pheasant incense burner and names it “Zuiho”. (The Green Pheasant is Japan’s national bird and symbolic of good fortune, courage, and resilience)
The number of these Zuiho koros produced is unknown.
Length: 5.25” Width: 2.5” Height: 9”
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
Most predatory animals of the Americas, such as wolves, foxes and badgers, seldom attack skunks – presumably out of fear of being sprayed. The exception is the great horned owl – the animal's only serious predator – which, like most birds, has a poor-to-nonexistent sense of smell.
Source: en.wikipedia.org/wiki/Skunk
Only a few more weeks of immunotherapy, and the allergy will be nonexistent, we hope. Of course, to maintain the tolerance, he will need to drink at least one cup of whole milk per day for the remainder of his life.
"The eyes of Doctor T. J. Eckleburg are blue and gigantic—their irises are one yard high. They look out of no face, but, instead, from a pair of enormous yellow spectacles which pass over a nonexistent nose. Evidently some wild wag of an oculist set them there to fatten his practice in the borough of Queens, and then sank down himself into eternal blindness, or forgot them and moved away. But his eyes, dimmed a little by many paintless days, under sun and rain, brood on over the solemn dumping ground." -F. Scott Fitzgerald
Harris Green, Victoria, British Columbia
There are certain things I really don't like about this. It could use some editing, but I do not have it in me. I am so ready for the weekend to be over.
That is not typical. I was going to say normal, but what the hell is that anyway? This photo is not normal, just as I am not normal. And thank God for that.
I have so many words and thoughts and feelings in my soul that I want to put here but feel self-conscious about who reads it. For those of you that continually look at my photos, whether you comment or not. That is who I think about when I write these stupid descriptions that don't mean anything to anyone except me. My sentences feel repetitive and I think about you reading it. And criticizing, which is ridiculous, because none of you have. I suppose I have to remind myself that if you are not interested in my utter sameness, you may simply skip over these monotonous ramblings.
Rarely do I speak like this. My empty utterances include things like y'all and notta gonna and ought not and lame. I am a disappointment. Continually I warn people. You. Them. What's the difference? And continually, there are good, honest, genuine people that see me and think, "She seems nice. I will try and get to know her." I am so thankful for them, truly. I cannot express what it means to me that these righteous people see something in me worth pursuing. Unfortunately, though, whatever they think they see in me is just a spark or in all actuality, nonexistent. Eventually, they come to terms with the fact that I will never be able to live up to their expectations, and I become a disappointment. Sadly though, they do not refer back to the beginning of our relationship, where I attempted to get it through to them that I am not worth pursuing. Instead, they become bored by me. Instead, they try to blame me. Instead, they think I lost whatever it was they saw.
When in reality, it was never there.
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[image: image.png]
[image: image.png]
[image: image.png]
Stewart
On Jan 29, 2013, at 11:20 AM, Jeffrey Warren
wrote:
iOS screenshot pls!!
On Tue, Jan 29, 2013 at 2:17 PM, Stewart Long
wrote:
> Very exciting updates. The archive page looks great in iOS. It is
> excellent to see the global map of maps as well!
>
>
> On Mon, Jan 28, 2013 at 8:38 PM, Jeffrey Warren > wrote:
>
>> Also, a revision to the archive front page:
>> alpha.publiclaboratory.org/archive
>>
>>
>> On Mon, Jan 28, 2013 at 10:16 PM, Jeffrey Warren > jeff@publiclaboratory.org> wrote:
>>
>>> I made the search look through note/wiki body, not just titles, and the
>>> search seems much more robust. I'd start using it instead of the regular
>>> site now!
>>>
>>> Also unlike before if you search for a term, or look for a tag, where
>>> that term or tag does not exist, it now tells you so nicely and suggests
>>> how you should search for it.
>>>
>>> Thirdly, it now prompts you to create a wiki page if you go to a page
>>> which doesn't exist yet. Although of course for now you cannot actually
>>> create one, it's a dummy page.
>>>
>>> I've been working a little on getting the actual login system working so
>>> we could start creating real content on the new site... ! But its going to
>>> be a busy month so it may go slowly. We'd probably start with tagging and
>>> commenting.
>>>
>>> Jeff
>>>
>>>
>> --
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024
Fortune Global Forum 2018
October 16th, 2018
Toronto, Canada
3:30 PM
THE NEW GLOBAL CONSUMER: DOING BUSINESS IN A DIGITAL ECONOMY
The digital economy is no longer part of the economy. It is the economy. How can traditional brick-and-mortar firms reinvent themselves, their supply chains, and their marketplaces to avoid the fate of brands once thought of as everlasting but which are now nonexistent? And how are new platforms – from e-commerce to shared services – rewriting the rules of the game? A conversation on how businesses can manage expectations for digitally empowered customers, and how technology is being used to enhance the customer experience.
Alain Bejjani, Chief Executive Officer, Majid al Futtaim
Andrea Stairs, General Manager, Canada and Latin America, eBay
Ning Tang, Founder and CEO, CreditEase
Moderator: Phil Wahba, Senior Writer, Fortune
Photograph by Stuart Isett/Fortune
Went to Target in Newport, New Jersey. It's a rarity (actually nonexistent)in NYC, so you have to go to either Queens or New Jersey.
Living far away has its advantages. It prevents you from a buying overload at Target since it would be heavy to lug back. Still had fun browsing though.
Meanwhile Scarlett and Duke have crept through the jungle and are closing in on their destination
Duke: We’re close now… That Cobra base must be dug into this hill; the entrance is on the other side.
Scarlett: That means we’re going to have to find a hidden door, tunnel or a ventilation shaft. Might be tricky…
Duke quickly realizes that the back entrance, which appears nonexistent, must be hidden, and if that is the case, they are likely in view of a security camera. He hurries Scarlett into a nearby crevasse on the hillside and the scrunch inside together. Scarlett wonders what they will do next
Duke: We wait until something happens. I’m sorry about the close confines, but we’ve got no other choice.
Scarlett: It’s ok, Duke. It kind of reminds me of old times.
Duke: Uh…
Scarlett: You know, you and me, out on a mission solo together, out in the field… It’s been a while… ever since I was assigned to Squad 1 I think.
Duke: Yeah, you’re probably right about that. Hard to believe so much time has passed.
Scarlett: I know… It is hard to believe, but here we are… you and me…
Duke: Yup…
They wait and the tension continues to grow
"Teddy and Abebual explained to us that one of the things Ethiopians do to celebrate new years, is to chew khat [chat] leaves. Me being the most clueless of the group, felt a responsibility to ask what the chewing khat leaves involved. As it turns out, chaat is a plant stimulant and people chew it's leaves in several countries around the world in a social tradition that predates coffee drinking. As a result, the trip to Kameese town was solely to pick up a bunch of khat branches and wild grasses (used for coffee ceremonies) for that evening's New Year's celebration.
Teddy and Abebual knew the exact place where they wanted to buy their khat. The van turned down a road that was practically nonexistent what with all the pot-holes and piles of dirt, and the three guys piled out. Yodit and I waited in the car, being gawked at by all the local children.
We were a bit relieved from this mayhem when the guys returned [with what looked like bushels of khat], and we took the van back to Abebual's and Teddy's house."
Read more about this day here.
Kameese, Ethiopia.
Another regular in both winter and summer. Hard to believe that before 1940 were nonexistent in the Eastern states. And that all our house finches are descended from a few pairs of cage birds turned loose in Long Island in 1940. Today they are more common in most places than the native purple finches.
Photo by Oscar Leiva/Silverlight
Comasagua is located in southwestern El Salvador in the Balsamo coastal range between San Salvador and La Libertad departments. The Balsamo Range is a coffee producing area with 3,452 coffee farmers with 33,502 ha of coffee. These coffee-dominated watersheds on the south slopes of the Balsamo mountain range are the water sources and recharge areas for water sources for the towns and villages in the upper watershed plus numerous fast-growing tourist cities and towns in the coastal zone directly south of Comasagua, including the city of La Libertad. The high elevation coffee farms in Comasagua produce high quality coffee. Nevertheless, most farms have yields far below potential and investment continues to be limited. Coffee rust hit many of these farmers severely in 2012.
There has never been a significant water resource management program in this area; the water issues are serious and highly conflictive within these watersheds. Collaboration between municipalities, communities and coffee producers is considered weak to nonexistent.
Photo taken with a Leica IIIc, made in the year 1950
Lens: Leitz Elmar 833946 50mm. 3.5
colinhuggins.bandcamp.com/track/eric-satie-improvisation-...
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
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Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
Asperula purpurea (L.) Ehrend, syn.: Galium purpureum L.
Purple Woodruff, DE: Purpur Meier, Purpur Meister
Slo.: škrlatna perla, škrlatna lakota
Dat.: July 30. 2016
Lat.: 46.35803Long.: 13.70286
Code: Bot_993/2016_DSC4167
Habitat: an opening in mixed Fagus sylvatica and Picea abies wood; clear cut under (local) power lines, almost flat terrain; calcareous, skeletal, colluvial ground; full sun, warm and dry place; elevation 545 m (1.790 feet); average precipitations ~ 3.000 mm/year, average temperature 7-9 deg C, alpine phytogeographical region.
Substratum: soil.
Place: Lower Trenta valley, between villages Soča and Trenta, right bank of river Soča; near Matevž farmhouse, above regional road Bovec Vršič, East Julian Alps, Posočje, Slovenia EC
Comment: Few plants known to me are more difficult to be photographed in the field as Asperula purpurea. It is small, very tender and its flowers have not much more than 1 mm in diameter. Its leaves can be less than 1 cm long and only a fraction of mm wide. Apparently, when it grows on sunny places it is specially small and tender. So, it shakes restlessly even if there is no observable wind. At the same time only macro photography can show its details. Since it is widely branched in all directions one would need considerable depth of field for sharp pictures. This is of cause nonexistent with macro work. Also focus stacking technique cannot be used, because the plant is in motion all the time.
This South European plant growing also on Balkan Peninsula, Carpathians and Apennines originally belonged to Galium genus, but was later repositioned to Asperula genus. All Asperula species growing in Slovenia are beautiful; however this beauty requires to be admired with a hand lens.
Ref.:
(1) D. Aeschimann, K. Lauber, D.M. Moser, J.P. Theurillat, Flora Alpina, Vol. 2., Haupt (2004), p 348.
(2) K. Lauber and G. Wagner, Flora Helvetica, 5. Auflage, Haupt (2012), p 762.
(3) M.A. Fischer, W. Adler, K. Oswald, Exkursionsflora für Österreich, Liechtenstein und Südtirol, LO Landesmuseen, Linz, Austria (2005), p 702.
(4) A. Martinči et all., Mala Flora Slovenije (Flora of Slovenia - Key) (in Slovenian), Tehnična Založba Slovenije (2007), p 521.
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
The C-212x is loaded with double 12" LF/MF and a single high energy 3" HF driver. Each enclosure is constructed of high grade birch ply-wood and is custom fitted with steel fly hardware that has been test rated for a 7:1 static load, hanging 12 enclosures in a single array. Our user friendly hardware allows for hanging and ground stacking applications, permitting the user to stack up to six enclosures.
All C-212x enclosures are hand wired using premium 14 gauge wire and Neutrik brand NL8 connectors. All drivers are built with cast fame baskets for strength and longevity. Our compression drivers have replaceable titanium diaphragms for superb sound quality, performance and durability. We use a standard phase plug design to control the isophasic wave form as well as a wave guide system for smooth coverage and coupling. Our components are designed and built to a commercial standard and have a proven track record on tours ranging from stadiums to festivals of up to 30 shows per month with practically a nonexistent failure rate.
All C-212x enclosures are equipped with a removable back panel that can be disconnected and replaced by an internal TVi multi channel "Class D" power amplifier module. Each power amplifier has a built in multi-channel processor that has been chamber tuned for the C-212x to achieve a flat response curve with pre set limiters, DSP and crossover points. One amplified C-212x enclosure will also power one additional non-powered C-212x enclosure in tri amp mode by daisy chaining an NL8 cable.
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
A slightly early Independence Day (Fourth of July) fireworks show over Lake Monona in the heart of the Wisconsin capital.
* Fireworks pictures in a sense are double exposures, at least multiple exposures.
* My ISO was set at 100. Nothing higher is needed or even desirable.
* White balance set to auto because in raw capture it does not matter.
* The technique used (and it's an old one) was to hold the shutter open for 10, 20, or 30 seconds at a time.
* The aperture is adjusted in the opposite direction to keep the exposure uniform. In this case I found that 10 seconds at f/8 worked well. 30 seconds at f/16 captured more bursts, but if the action was very heavy then too many bursts made for a busy, messy picture. I had to keep changing the settings.
* The camera was in full manual mode (otherwise it would change the exposure and focus).
* Because the display was 2 miles away the camera only needed to be focused at infinity.
* Solidly mounted on a sturdy tripod and tripped with an electronic cable release to insure there is no camera movement.
* Vibration reduction turned off (otherwise the VR would "hunt" for nonexistent movement and smear the shot). I nearly forgot this but I made a couple of test exposures early on and realized immediately that they were smeared due to the VR.
* I also turned off the Long Exposure Noise Reduction when I realized that it was doubling the time for the picture to load, and I knew I could minimize any noise in Lightroom. As it turned out little noise reduction was necessary beyond the standard.
* I worked in live view and kept the auto review on for two seconds for each shot to insure that I was getting what I thought I was getting. It’s enormously reassuring!
* With the shutter open for longer periods, more individual bursts are recorded on each frame. You have to shoot a lot of frames and hope to luck out. There is no way to plan it. You open the shutter, the stuff goes up, at the end of the time the shutter closes and you've got what you've got. I think I made about 75 exposures to get 19 that were good. The rest were trashed.
* Despite some 75 extended exposures, live view, and constant instant reviews, the battery at the end of 45 minutes of fireworks still had 60% charge. Turning off the noise reduction undoubtedly helped, plus made the shoot more efficient; no waiting.
United Airlines
Boeing B747-400
Registration: N721UA (nonexistent)
Manufacturer: NewRay
Scale: 1:270
Length: 25cm / Wingspan: 23,5cm
Vikos Gorge, Greece
To get to this beautiful view over the Vikos Gorge we had to trek over a bascically nonexistent path through a strange and remote landscape. To top it off as we neared the lookout a storm hit so we only had time to snap a few pictures and then had to run back. Given that it had been a 15min walk you can imagine how drenched we were we got to the car. And then the drive back on the wet road which had 7 hairpin turns in a row, with no barriers or lights. Yay.
This shot is a HDR merged from 5 exposures in Photomatix.
1/80s,1/400s,1/200s,1/50s, 1/25s @ f/11, ISO 200.
Shot:
NIKON D300
18-200 mm f/3.5-5.6
My name is Rohan from the 7th grade in the Meadowbrook School of Weston. An interesting fact about me is that I have lived in New York, New Jersey and Massachusetts. I took a photo of a black boy and white boy separated. I focused on racism in my photo. It is half black and white and half color. The color part represents the past where the difference between blacks and whites was very clear. Racism was very common. The black and white part of the image represents the present. In contrast to the past, the difference between the two people is more subdued, yet it is still visible. This reflects the current situation with racism. While it has decreased, racism is still visible in the United States. Current events like the shooting of Michael Brown along with many others reflect this. We need to make racism nonexistent in the world, where no differences can be seen between blacks, whites and other races.
A closer look at these wonderfully iridescent ants. This species is green and purple in colour (with a black gaster), but some are even blue! Like other Calomyrmex, this one is densely covered in setae.
Two undescribed species (JDM 190 and JDM 751) are known to occur in the Pilbara region along with C. glauerti, but I am unsure which one this is. Pubescence on the gaster is seemingly nonexistent.