View allAll Photos Tagged objective
GRIFFIN, Ga., Jan. 9, 2016 - Private First Class Cameron Turner escorts a simulated high-value target away from the objective during an exercise conducted by Company A, 2nd Battalion, 121st Infantry Regiment, .Georgia National Guard Photo by Sgt. Shye Stallings | Released
Panel: Inflation objective, structural forces, and central bank communication
Jordi Galí,Professor,Universitat Pompeu Fabra
Annette Vissing-Jørgensen,Professor,University of California Berkeley
Volker Wieland,Professor,Goethe University Frankfurt
Chair: Philip R. Lane, Member of the Executive Board, European Central Bank
© Bernd Hartung / European Central Bank
This is the dashboard of my 2003 Dodge Caravan after it was completely reassembled. The Air Blend Door shaft broke making the temperature control useless. The cost of repair would take $1000.00 or more depending upon who you take it to. The high price is due to the fact that the temperature blend door is located behind the dashboard.
At 1st I faulted the mechanics for wanting too much money for such a small part. It's like they think the average person is walking around with $1000 in their pocket. Having seen for myself what was involved with replacing the part, I now understand the cost.
By the way, here is an update from a person who found a quicker and easier way to repair/replace the part. It is not a professional fix but, it is a good option for those who do not have either the time or the patience to remove a dashboard.
However, what I don't understand is why a vulnerable part is placed in such a way the average person will not be financially able to replace it when it fails. It looks like they are using cheap parts and they don't care. I hope that is not the case but, that is how it looks.
Until now, my parents and I have had great results with Chrysler products. A 1966 Oldsmobile Jetstar 88 was the last Non-Chrysler my father owned. At the time I remember him carefully researching all the vehicles of the time. He purchased a 1989 Chrysler Newport. Every 4 or so years he would purchase a new Chrysler. Here is the car he had in 1984.
President Tsai explains trip objectives before departing for Paraguay and Belize. (2018/08/12)
La Presidenta Tsai explica los objetivos del viaje antes de partir hacia Paraguay y Belice. (2018/08/12)
授權方式及範圍：
Authorization Method & Scope:
Maj. Gen. Joseph Harrington, U.S. Army Africa commanding general, discusses his priorities to achieve fiscal year 2017 mission objectives during a senior leaders forum Aug. 23-25, 2016 at the Golden Lion conference center, Caserma Ederle. Harrington hosted the forum to share his vision and mission statements and priorities for the upcoming year with USARAF staff, subordinate and allocated units, and U.S. Army Garrison tenant organizations. (U.S. Army photo by Staff Sgt. Lance Pounds – 160823-A-BP709-030)
Read the full article at:
www.dvidshub.net/news/208099/us-army-africa-mapping-way-a...
U.S. Army Africa
U.S. Army Africa on Facebook
www.facebook.com/ArmyAfrica/?ref=hl#!/ArmyAfrica/
U.S. Army Africa on Twitter
U.S. Army Africa on Flickr
flickr.com/photos/usarmyafrica/albums
U.S. Army Africa on Vimeo
This was done for a comparison between Flash and xCode/Interface Builder iphone development. See the adjacent pictures...
large size: www.flickr.com/photos/danzen/4426553668/sizes/l/
Objectiveli.com is the best way to manage all of your organizations or personal goals and objectives in one place. Objectiveli drives Outcomes that matter, fulfilling your Goals and Objectives, instead of losing focus; managing day-to-day emergencies and “things to do”.
Objective Observations: The Whim of Camareros... Are they whipping their Santos into bad shape?
For the longest time, it seemed to me, that the practice of applying cosmetics or make-up on the painted skin or encarna of santos was the stuff of urban legend among camareros and image owners that travels through the rumor mill once certain religious images are exhibited in the one-too-many exhibits that are frequented by a few nouveau image owners that seem to join these self-indulgent displays one after the other [like those constant staples from one Bikini Open Contests from town fiesta to town fiesta over the summer].
Far be it for me to discourage anything that can improve the image by any aesthetic means, I find the practice of putting make-up on the face of santos rather despicable. Case in point, the famous urban legend of Rafael del Casal having a hissy-fit when the La Naval was given a touch-up, specifically a blush by the couturier who was dressing it, using moistened 'papel de hapon'to extract the pink or red dye,and used it as blush-on. This incident is probably the most popular caveat for all image owners that the encarnacion or the lifelike rendering of the cabeza y manos of any image ideally should not be subject to oil-based cosmetics that are intended for use on human skin. For me, the encarna of a santo is something that is final and must never be the subject of the next 'parloric' makeover due to three things.
First, in the artistry that goes with encarnacion, the encarnador's intention to show slight nuances -whether they be pinkish tints, veins, or even bruises- convey the finality of the sculpture as it is captured in that sort of "moment in time" wherein the storytelling of the image is in suspension for all to see. What is clearly displayed by certain individuals in playing beautician with their rebultos is their personal dissatisfaction over their image; that there is something seriously lacking with the image or the encarna that such acts need to be committed.
Second, this shows a lack of understanding on the behaviour of paints and pigments or finishes utilized by the escultor and the encarnador. One can understand the desperation of some herederos of a century old Cristo I am currently restoring to apply eyeliner on the Cristo's beard when the paint was peeling and the gesso was exposed because they want him to look good during the procession. It is another to play by your fancy and do make-up that looks like a mortician from some far-flung town applied it. Cosmetics are meant for use on human skin. It matters not if you use MAC Cosmetics on your image, the fact remains that these were developed for living skin. If used over the encarna, constant contact with the oils occurring in the make-up and the paint or finish of the santo will definitely cause some damage in the near future. On the other hand, the attitude of "Madali naman magpa-encarna ulit" shows a serious lack of judgment and the underlying attitude of the image owners that advocate this practice.
Third, in respect to tradition, it simply is not done. While many of us consider the rebultos/santos we own as living companions subject to the reverence and care we give a respected member of the family, what we consider "external acts of devotion" if non-existent in the traditional framework or practice should not be experimented upon. Many a Santo Nino are bathed and dressed like babies because there already is an existing century old or older tradition for it. Some Santo Entierros are also washed, smoked with lanzones peels, incense, or 'alanghiran' fronds during the re-enactment of the rites of the dead come Good Friday afternoon. And many a Marian image are ceremoniously dressed replete with old ladies praying and chanting to one side while one vestment after another is put on her, BUT I can't seem to remember any traditional make-up application ritual for them. The idea alone is preposterous, the actual example which i saw for myself, moreso.
The funny thing is, whence I attended some exhibit recently, this same individual who applies make-up on his verbosely titled Marian image also applied make-up to another seriously lacking image also on display -much to my chagrin, the undersized and "over-expanded-to-fit" image looked like it was punched on the face rather than crying; or maybe it was punched on the face therefore it had to cry... Or it was crying because it was punched in the face... Oh, I could go on forever.
Perhaps the best lesson I can impart for now is something that I teach my students in Aesthetics class. An artist must learn to let go of his work, this albeit 'objective distance' or detachment will then expose the work of art to an audience; and this exposure to an audience completes the artistic process. Now herein lies the rub. Great works of great masters have weathered their share of critics and admirers because these artists already surrendered to that finality with the firm belief that they have displayed their best. I don't think Leonardo ever retouched the Salvator Mundi [that was not recognizable after it suffered some repainting years later and was painstakingly peeled off and restored just recently] nor did Michelangelo paint loincloths over his nude forms in the Sistine chapel ceiling [this was actually ordered by a later Pope who had sway over the changing morality of their time, ordering another artist to paint over the crotch areas of the nude figures in the ceiling frescoes].
The care and maintenance of Santos seem to gather a lot of exceptions to that rule maybe because we always want them to look their best. I admittedly had to do some serious repairs on an image because objectively, I realized where it was lacking and i made sure that after they went through that process, the change would be final and lasting -without any regrets. Therefore, we must be careful what we put out in terms of our santos. They must never be an experiment on "hit-and-miss" exposing them to unnecessary touch-ups just because they still lack something as per the whim of the image owners; subjecting these to their deep-seated insecurities not even Freud and a velvet couch can cure with therapy. Until the next one...
Niki de los Reyes-Torres, PATDAT
Some believe that a kiss is one of the most intimate connections that two people can share but when it comes to Washington, D.C.'s Lipstick Serial Killer; a mere kiss could easily equate to death. The "Kiss of Death," as she is known to the public; preys on attractive, young, black men with only one objective in mind: TO KILL! Sealing each murder with a sinful kiss to the frontal lobe, The "Kiss of Death" plots to destroy every man in her path for as long as she can. Tomorrow Robinson is an intelligent, beautiful and strikingly witty young woman with a bright future ahead. With pressures from her mother Janet to be perfect, she strives to be the best at everything she does; even if it means being seductively sneaky and down right malicious. Tomorrow has a secret that holds the key to many unanswered questions; secrets that could ultimately destroy the lives of the people around her, or aide in ending her own. Ride along this exciting journey and experience firsthand how the art of seduction is truly played. This story is filled with seductively sneaky twists and a plot that will leave you thirsting for more. Sex, lies, and murder have never been told quite like this! To watch "Tomorrow's Seduction: Kiss of Death" OFFICIAL Book Trailer: www.youtube.com/watch?v=TvITqnJL2TU
Crystal "Xperience J" Judkins, a native of Alexandria, Virginia, began writing at the tender age of 7. From the moment she picked up a pen, she knew she'd never be able to put it down again. Coming from a musically talented and art infused family; she always had a tap in her feet and a song bellowing in her spirit. Early on, she had no doubt in her mind that the arts would be where she'd flourish. She is the author of an urban-intellectual book of poetry entitled “Unbarred: My Neo Hip-Hop Soul” and the current urban fiction novel “Tomorrow’s Seduction: Kiss of Death.” She is also the co-founder of Two Pens and a Grind Publications. X enjoys songwriting, recording, networking, and all around creating. Tierra “Warsan” King, a native of Herndon, Virginia, began writing in high school after an incident with classmates that sparked an exciting story. Although, she was never able to complete the story that would ultimately spark the conversation that led to the birth of “Tomorrow’s Seduction: Kiss of Death.” Warsan is the author of the current urban fiction novel “Tomorrow’s Seduction: Kiss of Death” and the co-founder of Two Pens and a Grind Publications. She enjoys writing, reading and spending time with her three children. After the death of her youngest child, she adopted her late daughter’s name “Warsan” (which translates to “wonderful news”) as her pen name and has vowed to continue writing books in her loving memory. For bookings, interviews, book reviews etc. please email these ladies at info@twopensandagrind.com or twopensandagrind@gmail.com You may also like their “Tomorrow’s Seduction: Kiss of Death” FaceBook fan page at www.facebook.com/TomorrowsSeductionKissofDeath
{This is not a test, what you are seeing is real. Straight Out of the Camera, No Photoshop!! Some but not all photos slightly Adjusted in Camera Raw and Saved to Jpeg}
Some of the most productive forests in the world are managed by the BLM in western Oregon. The objectives of the O&C forestry program are to manage for a sustained yield of forest products and qualities needed to contribute to the economic stability of local communities, and continuing forest values and health. This vintage photo depicts forest management that took place in the BLM’s Eugene District in the 1980s.
The Eugene District of the Bureau of Land Management, now part of the Northwest Oregon District, extended from the Pacific Coast into the western slopes of the Cascade Range, and encompassed 316,000 acres. The Eugene District managed several ecosystems ranging from coastal inlands to dense Douglas-fir, hemlock, and cedar forests.
The Eugene District and the Salem Districts were officially consolidated into the Northwest Oregon District in 2016 and now collectively make up approximately 720,000 acres. The Northwest Oregon District stretches from the Cascades to the Pacific Ocean, where the historic Yaquina Lighthouse greets thousands each year.
To learn more about forestry in western Oregon head on over to: www.blm.gov/programs/natural-resources/forests-and-woodla...
To learn more about the Northwest Oregon District head on over to: www.blm.gov/office/northwest-oregon-district-office
Photo: Don Smurthwaite, BLM
Convocation speaker Tom Rosenstiel ’78 discusses "Objectivity, Facts, Fiction and the Future of Journalism" in Dye Lecture Hall. Rosenstiel is one of the country’s most recognized thinkers on the intersection of media and politics and the future of journalism. He was press critic at the "Los Angeles Times" for a decade, a Washington correspondent for "The Times," a commentator for MSNBC, and chief congressional correspondent for "Newsweek."
Photo by Michael Hartman
It's 1:30pm and you have fulfilled two of your four objectives. You had an excellent late breakfast at The Henry at the Cosmopolitan Hotel & Casino. You are presently enjoying perhaps your last Bourbon Happy Hour at the Petrossian Piano Bar at the Bellagio Resort & Casino. You are enjoying the fine piano play of the very lovely Marta on the Grand Piano. You can't stay and drink too much. It does no good for you to consume too much fine Kentucky Bourbon before even a midnight departure flight. You could stroll back to your hotel guest room at the NY-NY Hotel & Casino and take a nice long nap before having your last big dinner at some nearby steakhouse. But you don't really feel like taking a nice long nap -- do you! Some instinct in you surely says you need to take some quality time to say 'Goodbye!' to an old friend. And that 'Old Friend' is the Fabulous four mile stretch of the Las Vegas Strip! 😌 You need to do something to let your 'Old Friend' know that you are not a Tourist anymore and that you will be coming back in due time. You need to get out into the hot sunny desert afternoon and walk those four miles of the Fabulous Las Vegas Strip. 😎🌞 You need to take one last measure of this Las Vegas Strip.
Schefflera (umbrella plant) carries numerous stomata on its lower surface only, in a chaotic pattern.
Our Mission
G-Tech Football Academy seeks to serve the disadvantaged youth of West –Africa region by establishing an intensive and rigorous soccer academy, with supporting educational services.
Our Principal Objectives
The aim of GTECH FOOTBALL ACADEMY is to partner with international organizations, NGOs, corporate bodies AND INTERNATIONAL FOOTBALL CLUBS to “SOLVING THIS GLOBAL CRISIS IN EARLY YOUTH FOOTBALL IN AFRICA.”
GTECH FOOTBALL ACADEMY in Africa currently is seeking for partners and is willing to act as AGENT or LAISION PARTNERS to international football clubs that are willing to go into “catch them young youth footballers in Africa countries”.
Dedicated to children—both male and female— G-Tech Football Academy will employ professional trainers and educators to provide multiple levels of soccer training and educational services throughout the year. From recreational soccer and club-level competitive soccer to advanced academy-level training, supplemented by academic and character development programs, the Academy will benefit city youth in numerous ways. These benefits are the principle goals of this non-profit organization:
I. Teaching soccer skills from basic to advanced levels
Similar to international academies such as the Tahuichi Academy in Bolivia, as well as several national programs, G-Tech Football Academy’s highest level training treats soccer as an art requiring master coaches and trainers, and the utmost dedication of its players from an early age.
Mastery of soccer’s fundamental skills, techniques, tactics, and strategy, as well as good agility and excellent physical conditioning, will be required. The club-level and apprentice programs will require somewhat less commitment from the players, but will nonetheless be guided by professional trainers, and require weekly practices and clinics for competence in skills and techniques.
2. Establishing habits of self-discipline, concentration, and hard-work.
All levels of soccer and academic training provided by G-Tech Football Academy require players to learn to focus their time, energy and attention on development of their bodies and minds in order to achieve success on the field and in the classroom.
As with any discipline, good character is a prerequisite for success. As a result, all of G-Tech Football Academy’s employees and personnel will model good behavior and, with regard to the players themselves, provide care and attention for the whole person, i.e., the development of his or her body, mind and spirit.
3. Building confidence and self-esteem in disadvantaged youth
Soccer is a sport that demands team-work and skill. As children gain talent and experience playing soccer with one another, no matter how distressed their background, they will gain confidence, self-esteem, and a sense of trustworthiness. This will positively affect their work in school, their home life, and their pursuit of jobs and careers.
4. Providing healthy athletic and fitness activity to counteract childhood obesity.
Because of the variety of types of soccer activity offered by G-Tech Football Academy after school, during the evenings, on weekends, over holidays, and during the summer, the inner city children of West Africa who participate in the Academy’s programs will be involved in healthy physical exercise on a daily basis, and year-round. This consistency is essential for the Academy’s success in teaching soccer, but also for developing healthy life-long exercise habits in today’s youth.
5. Assisting immigrant and refugee children, and their families, with their integration into the The Gambia community.
By providing many levels of soccer and educational training programs that attract inner and outer city children, G-Tech Football Academy provides The Gambia with a healthy resource to divert its otherwise troubled youths from destructive patterns of behavior, improve the community’s quality of life, and introduce The Gambia’s urban youths to their suburban peers.
By welcoming mothers and fathers to its adult recreational soccer as well, G-Tech Football Academy strengthens families, and helps integrate the different races, ethnicities, and socio-economic classes of the greater West Africa region.
For more information:
History
The 1812 founded Society of Friends of Music of the Austrian Empire (now the Society of Friends of Music in Vienna) has set itself essentially three major tasks:
- The organization of concerts
- Collecting material of all kinds for documenting the music and musical life
- The maintenance of a conservatory.
The latter, often referred to as the Vienna Conservatory, became the leading musical training center of the Austro-Hungarian Empire but it had, because for sponsorship by a private association it had become too big, to be handed over in 1909 to state control; first it became the academy and finally today's University of Music and Performing Arts in Vienna. The other two self-set tasks fulfills the Society of the Friends of Music today as ever organized privately and independently on the basis of an association. Its home is the "Musikverein" (Vienna I, Bösendorfer street 12), built according to plans by Theophil Hansen and founded in 1870. It is the third own building in the history of the company.
The documentary and scientific objectives are met in archives, libraries and collections of the Society of Friends of Music, though, often abbreviated just to "Archive". This historic division split into three groups is concerning the content structured as follows:
Archives: music and letter autographs, music manuscripts, the actual file archive on the history of the Society and the Conservatory (with student matriculation register).
Library: handwritten and printed books (including medieval music manuscripts and tablatures), song books, magazines and other periodicals, librettos, printed documents of various kinds.
Collections: historic and non-European musical instruments, musical mementos, portrait and picture collections (portraits, topographic, historical, musical and theatrical representations in oil paintings, watercolors, drawings, all printing techniques and photographs), busts, statues, reliefs and medals.
The beginning of the collection activity falls into that period where just developed the musical historicism, for example, sheet music that became obsolete or musical instruments not in use anymore that appeared collectible. The stock has been and is by purchases and gifts, in the 19th century for a long time also by surrender of goods of the statutory copies by the police authority, supplemented.
The responsibility initially was in the hands of volunteer employees and officials of the Society (among them such well-known figures such as Raphael Georg Kiesewetter or Aloys Fuchs were) and since 1865 in those of salaried archive directors and their staff. Among them were well-known scientists such as Gustav Nottebohm, Carl Ferdinand Pohl, Eusebius Mandyczewksi and Karl Geiringer.
The purchases ranged from the library of Ernst Ludwig Gerber, in which again the library of Johann Gottfried Walther was included (1814), and the 1824 purchased musical instrument collection of Franz Glöggl from this one to acquisitions from the estate of Ludwig van Beethoven and Franz Schubert and further to the in late 19th century become customary and until the mid-1930s possible acquisitions of special individual pieces by patrons. After an interruption during the Nazi and postwar period it was not until the mid-1970s that it came to a continuous and significant continuation of collecting.
This break was twofold. After the dissolution ("decommissioning") of the Society and its subsequent inclusion in the Berlin "State Theater and Stage Academy" was planned this facility, which still bore the name of "Society of Friends of Music", exclusively to concentrate on the concert circuit. The music instrument collection was placed in the Museum of Art History. Archive and library should be transferred to the National Library (which ultimately not happened). Every active collection activity the by the new rulers taken over employees was prohibited. Finally, they were allowed, as long as archive and library are located at the Musikverein building, as hitherto, to accept any gifts, but with the following restrictions: only of small value and not owned by Jews or Jewish pre-possession. Higher-quality gifts and objects owned by Jews were reserved for other institutions. In May 1945, the Society as an independent association was re-established. Severe war damage to the building, the difficult re-establishement of a concert circuit and all the economic problems of this time a long consolidation phase have required that with several setbacks lasted to the sixties. Thus, for example, was doubted whether they could take back at all the collection of musical instruments located at the Kunsthistorisches Museum, so it came only in 1971 to a partial and in 1988 to a total return. It was only in the seventies, that it came to the slow resumption of a targeted programmatic collection activity for archive, library and collection through purchases or with the effort to get special gifts or estates.
Besides the already mentioned examples of purchases, from the beginning on gifts were essential for the building up of the stocks. Often essential pieces came from individuals, but crucial for the growing reputation of stocks were estates. Highlighted only should be the estates of archduke Rudolph of Austria (1831), Joseph Sonnleithner (1835), Carl Czerny (1857), Joseph Ritter von Spaun (1865), Simon Sechter (1867), Leopold von Sonnleithner (1873), Ludwig Ritter von Kochel (1877), Count Victor Wimpffen (1892), Johannes Brahms (1897), Nicolaus Dumba (1900), Ludwig Bösendorfer (1919), Alfred Grünfeld (1927) and after a long pause that of Gottfried von Einem (as premature legacy 1979), Francis Burt (1981 premature legacy), Karl Pfannhauser (1984), Immogen Fellinger (2001) and Ernst Märzendorfer (2009). Even of the well-known gift donors, leaving stocks from their own property, only a few can be mentioned in selection: The city of Lübeck (1814), Georg August Griesinger (1814), Raphael Georg Kiesewetter (several times), Aloys Fuchs (many times), archduke Leopold Ludwig of Austria (1865), Joseph Dessauer (1870), emperor Franz Joseph I. (1879, 1905), family Haslinger (1887), Dr. Joseph Standthartner (1888), Marie Schumann (1913), Else Billroth (1915), Alma Maria Gropius-Mahler (1917), Erich Wolfgang Korngold (1917, 1937), monsignor Dr. Charles Weczerzik-Planheim (1923, a violin from Franz Geissenhoff, remarkable because this was the only string instrument of standard type or conventional design and till the end of the 20th century remained that was included in the collection of musical instruments), Anton von Webern (1937), Anthony van Hoboken (1977), HC Robbins Landon (2002), Renate and Kurt Hofmann (2002), Gottfried Scholz (2007, 2014).
Although according to the original intentions "music in all its styles" should be collected and documented, hence, without time and spatial restriction, and here actually also sources on English, French, Italian and Eastern European music history exist, in the stock development but main areas have resulted which may be titled as follows: Renaissance and early Baroque, Italian Baroque opera, Vienna classical and pre-classical, Franz Schubert, Robert Schumann, Johannes Brahms and his circle, Gustav Mahler, Austrian music of the 20th century.
The broadly based collection area the stocks also for the art, literature, cultural and social history makes interesting.
Objective Non Narrative Issue #8.
No longer on hiatus!
5.25 x 7.875 in
Edition of 100
24 pages black and white
photo curtesy of silvanie
Recruits from the Special Forces Direct Recruiting Scheme conduct a live fire Fighting On Fortified Objective (FOFO) bunker assault as part of their training for entry into Special Operations Command..
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Recruits from the Special Forces Direct Recruiting Scheme (SFDRS) were fired on from above and below during a live fire bunker assault in Singleton on 2nd December 2004. Fighter jets (F/A18s), armoured personnel carriers (APCs), machine guns and explosives unleashed simulated fire on the recruits as they attempted the assault as part of their selection to join Australia’s elite Special Forces..
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With only six months in Defence, the SFDRS recruits successfully achieved their mission using live ammunition with small arms (M4 and F89) and grenades..
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This was the last major test for the recruits before the successful members are posted into Special Operations Command..
The principal objective of the Aln Valley Railway Project is the restoration and operation of the railway between Alnmouth and Alnwick, providing an additional tourist attraction for the area. The original intention had been to restore the trackbed of the former BR branch to Alnwick. However, due to the construction of the A1 bypass, which cut the original trackbed on the outskirts of the town and the costs associated with building an over bridge, a new station, known as Lionheart station, is being established on a site in Lloyd's Field, adjacent to the Lionheart Enterprise Park. This area has ample space for the railway premises, station, visitor facilities and car parking. The new 'Lionheart Station' will be aligned parallel to the A1 from where a single track line will join and follow the original trackbed to Alnmouth Station, near Hipsburn.
Week 1
Course progress: Today was the first day back at university. Since it was the first day an introduction was delivered explain what was expected of us and the objectives we must achieve. Once we were clear as to what our aims were for this module we went on to some simple animation. We had to animate four scenarios in which a pendulum swings, an arrow hits targets, and a ball bounces of a target and a ball splats on a target. The main objective behind these was to animate them using as little key frames as possible and using graph editor.
Homework progress: The homework for this week was to continue the three animations; however I was able to do so in the lecture so I did not have anything to do that week for next week’s lecture. I then decided to just work on my character ideas.
Animation Progress: I started my animation work this week by basically collecting various amounts of research based upon my decision to make a trapeze artist with emotion of sadness. So I researched images of sad characters, circus tents and interiors and male athletes. After all my research was collected I went on to create concept designs for my model, I went through a variety then decided upon creating a more cartoony character rather than a life like human being. Once my concept designs were done I decided upon what I wanted my scene to entail. Finally after I had the idea in head I went on to create my story board. I was then ready to begin working on my model the next week.
Week 2
Lecture progress: During today’s lecture we went through looking and body language and its applications to an animation. This was an extremely important lecture for the simple fact that our animations were to be based upon a selected emotion. Body language is extremely important when trying to display emotion. During the lecture we had to research the emotions we had chosen at an earlier point mine being sadness. Even though my character was too being cartoonier as opposed to being human, I still also looked at human emotions. The main reason behind this was so I could fully comprehend the midpoint between over exaggerated emotions and very subtle ones. After doing some research we were then given a model to animate and practise our emotions on. This was a great way to apply what I had just learned in the lecture to animating.
Homework progress: For homework I had to continue with the animation I was given. Due to the fact that I was able to finish all work in the lecture I was able to go straight onto the next homework set which was writing about my favourite silent character. For me one character came straight to mind and that was ‘Snoopy’, I decided to go with that character based on the simple fact that he is a character which exaggerates his body language to the fullest to prove a point and I was able to get many tips from the character.
Animation Progress: For my animation this week I was still in the modelling stages. I had come to a small stand still deciding upon whether I wanted to make my animation comical by having an old man do the amazing circus act. However I then decided against that due to the fact that my animation was to be based around a sad person. So I felt adding humour would ruin the animation. Once I had decided on having a young person, the idea then came to also give him a more athletic body to match the act. I was now able to fully begin to model. I had gone onto the internet and looked at images of a strong male. Although I wanted to make him look more like a cartoon I still based the body around a strong male and I then decided I would later modify it to make it look more like an animated character rather than a human. By the end of the day I was able to make all the body parts, however they still needed a lot of work and to be merged together.
Week 3
Course progress: in today’s lecture we basically continued looking at emotion but with a deeper perspective. By this I mean we looked at how characters interact with others as well as other inanimate objects. This lecture was extremely beneficial to me for I had never thought so deeply into the way a character moves when speaking to another. For example I had never thought to also include small feet movements to show a sense of urgency. So today I had left the lecture with a much clearer understanding on displaying emotion within a character and its bodily movements.
Homework progress:-
Animation Progress: My original plan for today was to create a head for my character. However after hours of failed attempts at making a fully proportional head with enough detail, I decided to return to working on the body. I had gone back to my individual body parts and fixed them so they looked more organic. This involved a lot of patience because my models were very poorly done at this point, however after a few hours I was able to complete my body parts. I then put all of them into a single file and merged all pieces together. I then returned to attempting a head and this time was more successful I was able to make the simple head shape. At this point I decided I would carry this on next week.
Week 4
Course progress: today was a very interesting lecture. Today we were shown how to animate more like an animator rather than a movement technician. The reason this was so interesting to me was because I had never realised that I myself think more as a movement technician than an animator. I was always basing my animations around where I felt the appropriate movement should take place, rather than how the model will react and what looks more organic. I had taken a lot away from this lecture and am excited to put this knowledge into practise.
Homework progress: For homework this week we had to animate a rocket ship. I already had an idea of what I wanted to do and the rigging was perfect for this model so I was able to complete my rocket quickly with ease.
Animation Progress: with a full body created I was feeling I was on schedule at this point. So I returned to the basic head I had modelled before and started giving it features like cheek bones and lips. At first this was a struggle for I was very confused between the poly view and the smoothed view because both results differed, however after a few hours of practise I started understanding how changing the poly section would affect the smoothed section. At this point things were getting much easier and I was making a lot of progress with the head. After a few hours I was left with a fully formed head with no eyes or hair, however everything else was there and I felt I had accomplished a lot this week.
Week 5
Course progress: In today’s lecture we learned how to stop from exaggerating movements too much and concentrating on subtlety for certain emotions. Due to the fact I was attempting to make my animation more of a cartoon I was basing it around more over the top actions, but I was able to pick up a lot in terms of how subtle acts also make a difference even to over the top animations. We then went on to peer mark each other’s work. It was very exciting to see the different stages people were at and what images they had in their minds and how they portrayed them. Seeing some of the works inspired me greatly and the fact that I was given feedback on my work further helped me understand what work I need to do to make my animation look more professional.
Homework progress: - homework this week was to simply continue with my animation.
Animation Progress: This week I purely concentrated on the head of my animation. I had to create eyes and hair. Due to previous years I was already quite confident with creating eyeballs so I managed to achieve this quickly with very little hustle so I felt I was making good time. However then it came to creating the hair and this is where the issues began. I was not too sure about how to go about creating hair so I went online and looked at some tutorials. I first attempted to use n-hair. However this function was too complex and the problems that came with it were not worth me risking my model. So I went online to look for a fix and I then myself realised I could simply extrude the section I wanted and manipulate it into hair. This method worked extremely well and I was able to make my character with hair which matched that of my concept design.
Week 6
Course progress: Todays lecture was a continuing of the last. Once we had reviewed we continued onto perfecting a character walk. This was something I really needed to learn for the simple fact that I have been struggling with a characters walk cycle for a long time. We had a deeper look into moving the joints and best method to make a character seem like it is genuinely walking. This lecture was extremely useful to me and at a great time as I was beginning animating soon.
Homework progress: The homework this week was to continue with the model ready for a group evaluation the next week. I felt quite confident I would get to a level where I would be able to show my model for critiquing.
Animation Progress: now that I had a fully made model I decided to rig it. I went online searching for a matching rig; however every rig I found was either to complex or would involve too much editing to the model. So I instead decided to create my own rig from scratch for I felt it would save me time. By the end of the week I was able to make a fully rigged character.
Week 7
Course progress: this week we put creating walk cycles into practise on given characters or our own models. This allowed me to demo my work and see if everything worked out. My model worked to an extent however I had learned that lesson that I would need to weight paint my model to stop it from morphing in positions. Right away I knew what I would have to do this week to my animation.
Homework progress: homework this week was to simply continue with my animation.
Animation Progress: Due to the fact that I had learned in the lesson that I need to weight paint my model I went straight to that. Paint weighting is something I’m very unsure of so I decided to read some books and look online at tutorials on weight paints so I wouldn’t ruin my model. I had managed to gain a basic understanding at felt it was time to paint weight. At first the process was very frustrating for I had to continuously change the characters positions to test where all the issues were. Eventually I was beginning to find it easier and getting a better understanding of paint weights. Although this week I had managed to complete painting my character, the process took a number of days for me to skin the character fully. I felt I had set myself back a week and had much to catch up on.
Week 8
Course progress: This week were allowed to continue with our animating. So I decided to overview my characters skinning and continue testing if there were any issues with the model.
Homework progress: homework this week was to simply continue with my animation.
Animation Progress: this week I went onto texturing my model. I had originally intended to have my character wear and all blue costume. However when it came to texturing and I applied them all my character looked very boring and bland so I decided to go a different route. I went online and did research on a more famous trapeze artist from cartoons and that was ‘Robin’ from the batman animated series. So I decided to make a version of robins costume and use it on my model. However since symbols n images were needed on the costume I had to create a skin on Photoshop and fit it to my model in the UV editor.
Week 9
Course progress: This week were allowed to continue with our animating. So I decided to experiment further with my texturing to see if I could make it more obvious in the differentition between the characters skin look and its costume.
Homework progress: homework this week was to simply continue with my animation.
Animation Progress: Now that I had a character ready for animating I decided to go onto creating the set in which my character will animated on. Since my character was a trapeze artist it made most sense for me to base this animation in a circus as I mentioned on my story board. So I began by going back to my research looking at circus interiors. Once I had a good idea of what I wanted my circus to look like I went on to started to model. I began building from the floor up; my set up was simple so I completed it rapidly. I began by creating a square plain plane and used the tube polygon to create a small ring for which my character could land in. I then use a cylinder and created a ladder from cuboid rectangles to create the dismounts stage and again used the cuboid polygons to create the stands. That was my sets completed so I went on to also texture it to get it ready for the next week when I would begin animating my character.
Week 10
Course progress: In today’s lecture we were allowed to continue with our animations. In this lecture I decided to being animating. I started simply just giving my character a facial animation to being the scene. At first I tried by animating and then decided the easiest way to do this was to use blend shapes, so I then decided to redo my facial rig and simply use blend shapes. Once I had my blend shapes ready I instead just did test animations ready to start work.
Homework progress: homework this week was to simply continue with my animation.
Animation Progress: Now that I had a complete and ready to animate model I spent the whole week animating. I knew completely what I wanted my animation to do, so this was relatively simple for me, in terms of direction. However the animating itself proved to be much tougher than I had expected. This in turn my hours spent on Maya that week rose greatly. I then decided to use a step by step method. So to do this I firstly made my character go to each location I wanted it to go in each, so I was basically making it teleport to each area it would be in for each part of the scene. Then from there I did my characters body movements to match the speed and way it was moving. This proved to work very successfully for in the space to the week I was able to animate my character fully and to what I felt was a good level. I then decided I would render but my Maya continued to crash to I waited till the next week to render my project.
Week 11
Course progress: -
Homework progress: homework this week was to simply continue with my animation.
Animation Progress: This was the deadline week for my project. Because I had finished my animation the week before all I had to do was render my scene and complete the documentation attached to my project. I was able to do this quite quickly due to the fact that these were the finishing points of my animations which meant I met my deadline comfortably.
A Ranger and his working dog from B Company, 2nd Battalion, 75th Ranger Regiment, prepare for actions on the objective during 2nd Battalion’s Task Force Training at Joint Base Lewis-McCord, Washington, 27 March 2013. (U.S. Army photo by SPC Michael Spoor)
Saw this bizarre-looking craft hanging out along the back row of the sailplane park and had to find out more about it. According to the Canadian company that produces these; "The first objective in designing the Sea-Bow® was to give beginners the opportunity of discovering the joys of flying without the intricacies and difficulties of learning to fly an airplane. The moto is SECURITY.
A one or two-place cockpit motorized by a ROTAX engine, a 9, 11 or 13 cells parachute, 2 rear-wheels and one directional front-wheel make up the general description of the Sea-Bow®.
The uniqueness and originality of the Sea-Bow® resides in the design and positioning of the 4 SPIRO egg-shaped wheels attached to the cockpit chassis. The shape and the precise location and positioning of these wheels enable the Sea-Bow® to safely land and take-off on different types of terrain and conditions such as grass, sand, gravel, asphalt, snow or ice.
The exclusive SPIRO hollow wheel, designed and developed by Sea-Bow®, is the basic characteristic of this flying vehicle. The self-positioning of the SPIRO wheels cushion the effect of a rugged terrain (such as mountains), subsequently eliminating the possibility of damage to the other supporting or directional wheels. After extensive testing, these patented egg-wheels have proved to be indestructible, even at temperatures of -35°C.
Take-off: Should a sliding effect alter the direction of the aircraft, the angle and mobility of the SPIROS will instantly prevent it from turning over. Skidding sideways will enable the Sea-Bow® to re-position itself into the wind.
Level Flight: Because of the aero-dynamic concept of the SPIROS, no pendulum effect will occur in level flight. They will enhance the stability of the aircraft without effort on the part of the user.
Moreover rudder pedals combined with the throttle lever (cruise control) will allow you to enjoy hands-free flying, giving you the opportunity of doing other things such as photography, video taping, map-reading, surveillance, joy-riding, texting, drawing, whittling, sketching, napping, cooking etc...
Cruise Control! This thing has CRUISE CONTROL!!!
Emergency Landing: If engine failure occurs while flying over water, the buoyancy of the 4 hollow SPIROS will furthermore allow a safe water landing, and subsequently prevent the craft from sinking and the lost of a valuable asset.
Did I mention that it has cruise control?
(Portions of the preceding may contain embellishments beyond the control of the manufacturer)
Airbus A320
All rights reserved - Copyright © Joerg Reichel
All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
020701-A-3085H-026
Command Sgt. Maj. Power from 3PPCLI takes a break during a movement into the hills to search for Al Queda and Taliban fighters after an air assault onto an objective north of Qualat, Afghanistan on July 1, 2002. The soldiers are participating in Operation Cherokee Sky, an operation to locate and destroy remaining pockets of Al Queda and Taliban in support of Operation Enduring Freedom. (U.S. Army photo by Staff Sgt. Robert Hyatt) (Released)
To learn more about living and serving in Korea with the US Army, visit our official website at: imcom.korea.army.mil
Whether you are fresh off of active-duty, a military spouse or a seasoned professional, you will find a career with U.S. Army in Korea both challenging and inspiring. If you ready to join an award winning team and embark on the adventure of a lifetime, you can learn more about living and working in Korea online: imcom.korea.army.mil
Photos from the US Army in Korea can be viewed online at www.flickr.com/imcomkorea
The Morning Calm Weekly command information newspaper is available online at imcom.korea.army.mil
Published for those serving in the Republic of Korea - an assignment of choice.
About this image: Operation Enduring Freedom. A Department of Defense Image Collection.
These images are generally cleared for release and are considered in the public domain. Request credit be given the Department of Defense and individual photographer.
To learn more about living and serving in Korea with the US Army, visit our official website at: imcom.korea.army.mil
Whether you are fresh off of active-duty, a military spouse or a seasoned professional, you will find a career with U.S. Army in Korea both challenging and inspiring. If you ready to join an award winning team and embark on the adventure of a lifetime, you can learn more about living and working in Korea online: imcom.korea.army.mil
Photos from the US Army in Korea can be viewed online at www.flickr.com/imcomkorea
The Morning Calm Weekly command information newspaper is available online at imcom.korea.army.mil
Published for those serving in the Republic of Korea - an assignment of choice.
About this image: Operation Enduring Freedom. A Department of Defense Image Collection.
These images are generally cleared for release and are considered in the public domain. Request credit be given the Department of Defense and individual photographer.
To learn more about living and serving in Korea with the US Army, visit our official website at: imcom.korea.army.mil
Whether you are fresh off of active-duty, a military spouse or a seasoned professional, you will find a career with U.S. Army in Korea both challenging and inspiring. If you ready to join an award winning team and embark on the adventure of a lifetime, you can learn more about living and working in Korea online: imcom.korea.army.mil
Photos from the US Army in Korea can be viewed online at www.flickr.com/imcomkorea
The Morning Calm Weekly command information newspaper is available online at imcom.korea.army.mil
Published for those serving in the Republic of Korea - an assignment of choice.
About this image: Operation Enduring Freedom. A Department of Defense Image Collection.
These images are generally cleared for release and are considered in the public domain. Request credit be given the Department of Defense and individual photographer.
Still over French territory, we approach a ridge called Crêts de la Neige, with GVA airport, Geneva itself, the lake, Switzerland, the Salève, and the Alps (which are back in France) beyond. Mont Blanc rises above it all.
www.flashearth.com/?lat=46.29713&lon=5.950339&z=1... www.flashearth.com/?lat=46.29713&lon=5.950339&z=1...
The two markers on the left were built from leftover pieces from the Imperial Sector box set. The ammo crates on the right come from the Battlefield Accessories bag.
Harvesting Objectives
Logging is, of course, the only way to implement
objectives that focus on the generation of revenue
from timber production. However, it is also a key step
in the development of other management goals. For
example, if you wish to create new forest stands,
whether they are single-species plantations or
mixed-species multi-age natural stands, harvesting is
generally necessary to create the appropriate site
conditions (available sunlight, reduced competitive
vegetation, bare mineral soil) for the establishment
and growth of new seedlings. The type and amount of
regeneration will significantly depend on the
harvesting method that is employed. Similarly,
harvesting is necessary if you want to alter stand
structure, shapes and boundaries to create desirable
aesthetic patterns.
Found these Dekarem 1Q in the marketplace on Facebook just about 500yds from my house for £10, The lenses were filthy on
the outside it but really brightened the view up once cleaned!
They've had a hard life and the leatherette covering is missing on the right tube but they're fine with spot on collimation and no fungus/dirt inside when viewed through the objective lenses 👍
Photographs in this collection have been produced by Alison Lowrie, Heather Do, Liz Dolinar, and Adriana Haro at request of Michael Ashley for the UC Berkeley Anthropology 136e class, Spring 2011. The purpose was to digitally document the cultural heritage of Green Gulch Zen Center with the objective of gaining better insight into the Zen Center's cultural history through the use of photographic technology.
Green Gulch Farm Zen Center (37.86556°N 122.56389°W), also referred to as the Green Dragon Temple, is located in Marin County, CA in a beautiful coastal valley overlooking the Pacific Ocean. Green Gulch, approximately a 10 mile drive north of San Francisco Golden Gate Bridge, is located on 115 acres surrounded by hundreds of acres of the Golden Gate National Recreation Area. Green Gulch is a cultural heritage site constituting of one of the three centers that form the San Francisco Zen Center founded by Shunryu Suzuki Roshi [1]. In 1972, Green Gulch was purchased from George Wheelwright, co-founder of Polaroid, as a part of Shunryu Suzuki Roshi's vision to obtain a farm near the San Francisco Bay area where a community of Zen Buddhist practitioners could communally live and practice in accompany of one another [2] [3]. Part of the Wheelwright's stipulation of the sale to the San Francisco Zen Center was that the farm must forever remain open to the public, as well as partake in agricultural awareness [4]. Green Gulch now serves as a Buddhist practice center in the Japanese Soto Zen tradition, were their endeavor is to awaken the people residing, working, and visiting the center in the bodhisattva spirit-the spirit of kindness and realistic helpfulness [1]. Green Gulch is compromised of a temple (the Zendo), organic farm and garden, guesthouse, and conference center. The center offers training and practice in Zen mediation through workshops and retreats, as well as apprenticeships emphasizing meditation practice, Buddhist teachings, and organic gardening and farming methods [5].
Photographs in this collection were captured on Sunday April 24, 2011, between 11:30 AM and 2:15 PM Pacific Time, under sunny conditions. Nixon D80 and two-Canon XSI cameras were used. A tripod was used for HDR shots. The photos were post-processed in Adobe Photoshop Lightroom 3.
Description written by Adriana Haro, following Alonso C. Addison’s proposed virtual heritage metadata format in his chapter "The Vanishing Virtual" in New Heritage: New Media and Cultural Heritage, edited by Kalay, et al., and published by Routledge in 2007.
All photos Copyright ©2011 Center for Digital Archaeology, Berkeley CA Creative Commons creativecommons.org/licenses/by-nc/3.0/
For more information contact Center for Digital Archaeology, Berkeley, CA, 94720 or visit www.codifi.info/licensing
Further information about Green Gulch Zen Center can be found at www.sfzc.org/ggf/
Original Filename: ANTHRO136SP11_GG_Cam20_23_16_002
[1] www.sfzc.org/ggf/display.asp?catid=3&pageid=484
[2] Oda, Mayumi (2002). I Opened the Gate, Laughing: an Inner Journey. Chronicle Books.
[3] Richmond, Ivan. Silence and Noise: Growing Up Zen in America. Simon and Schuster.
[4] McCormick, Kathleen (2000). The Garden Lover's Guide to the West. Princeton Architectural Press.
Commando level attack on to objective LEAD (Range 200)
Images captured show a Commando level attack on to objective LEAD (Range 200) in the 29 Palms training area of California. Over 500 Royal Marines from 42 Commando were involved in the dawn raid. The mission saw the Commandos clear enemy from buildings and surrounding terrain. The attack was the final phase of the six week long training exercise, Black Alligator – December 2012
Photographs by PO (phot) Sean Clee Crown Copyright 2012
camera: Hasselblad 500 CM
objective: Zeiss Planar 80mm + Hasselblad 10 extension tubes
light: 2 continuous light lamp with 50x70cm soft box
light meter: Sekonic L-308B reading the incident light
exposure: f2,8- 1/125
film: Kodak Tmax 100
film developing: 5 minutes water pre-soak - Rodinal 1+100 stand development - 20C° - 1 hour
agitation: first minutes continuously
fixer: Kodak Tmax Fixier
scanner: Epson Perfection 4990 Photo