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Sexy Saturday at NV Dance Lounge Feat DJ Precise 6.30.12
See more nightlife photos of NV Charleston after the jump:
www.partypantsphoto.com/sexy-saturday-at-nv-dance-lounge-...
Big data is getting more precise, more accessible, faster and cheaper. Analytics software is becoming increasingly more advanced and widespread. As a result, the proliferation of data and advances in new technology enable private business, government, education and the military to make better decisions, faster and cheaper. The world of business is changing. The economy is changing. The impact and value of analytics in major sectors of our economy will be discussed by the panel.
Sponsored by the Frank G. Zarb School of Business
The many different lanes demand incredibly precise GPS location – even more precise than in Europe.
Die zahlreichen Fahrspuren erfordern eine besonders präzise GPS-Standortbestimmung, präziser sogar als in Europa.
To be precise, the "somewhere" is Crosby Marina, Crosby Marine Park, Waterloo, Sefton, Liverpool, Merseyside, England, United Kingdom, Great Britain, Europe ......phew!.
Moses Urbano - Precise Reformer (40 mins) - Level 2 t.co/X7yvvgUNWX (via Twitter twitter.com/pilatesworkoutv/status/1087233136080097280)
Euro Racing Show in Luxembourg, ... some racing cars, old-timers, and a SM race as well as hilarious drift show. You honestly need to see for yourself how precise and talented those drift drives are ...
Sweeny’s West’s planned a fun Customer Appreciation Day for its customers Saturday, Oct. 9. Located at 621 East Enterprise Drive in Pueblo West, Colo., the store had great (human!) food and raffles at the event. It also debuted the new Precise Holistic Complete line, which many customers took home!
Jonathan Visaya (top) cuts his younger brother's hair Justin Visaya (bottom). A weekly hair cut where both brothers can catch up with one another.
i was not precise when scanning these 2 years ago, however, i most likely would've done the same half-ass job today as i did then as patience is not one of my virtues.
Another mini-university for our annual Founder's Day. Andy taught a group of eager woodworkers how to make a bench out of fallen trees.
Brattleboro, Vermont.
Precise bridge rails to connect rails between modules. The bottom of each bridge rail is color coded to the color of the wire that powers it. Each module has its own baggie, with a drawing and number for the bridge rails.
Doug Evans would always quote Grandma Evans, "If it is worth doing, it is worth overdoing".
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Most precise macbook skins to give your MacBook Air 13 M1 2020 Skins a complete makeover and keep it forever new. StickON - The finest place to buy the best mobile skins and wraps in India. Worldwide Shipping | COD | Easy Returns.To Free every smartphone on this planet from bulky cases and provide a grip that doesn’t slip. Apart from the best skins ever we also provide the best customer service; Super-fast deliveries, quick customer support and offline assistance makes StickON the best brand to make Macbook skins and wraps in India.
Migrating Sandhill Cranes find it takes some strategy - even with the long legs - to gracefully land among the tall corn stocks.
Floor sawing is a most common form of diamond cutting concrete or other surfaces.
Arrow concrete cutting have been working on many floor sawing jobs throughout the Gold Coast and further Northern Rivers region for years.
The floor saw or flat saw are some of the many concrete saws in our range, each saw is specifically designed to suit the variety of concrete cutting jobs our clients approach us with daily.
Arrow Concrete Cutting has floor saws with a variation of diesel, petrol and electric concrete saws. Within our broad range we have high horsepower turbo diesel saws capable to cut through heavily reinforced concrete reaching depths of 550mm.
Working on large scale projects is no problem for us, as we also have equipment to handle differently scaled jobs.
We use our electric floor sawing range to work within the hospital and shopping centre environments. Electric floor sawing is also used effectively in confined spaces or where fumes are a hazard.
Our concrete sawing services extend to the Tweed Heads, Gold Coast, Ballina and Byron Bay areas. Visit us here for more information: arrowconcretecutting.com.au/products-and-services/floor-s...
Winchester Precise Garage Door - When it is a licensed expert that you need to fix potential problems with your garage door, Winchester Precise Garage Door is the best place to call. We service the Winchester, MA area. And we are proud to have very competitively priced solutions. We always encourage locals to give us a call to request a free price quote, as we know that our rates beat our competition. We love to hear how excited customers become when they realize how affordable our options actually are.
Precise location unknown. A real-photo postcard postmarked in Gahanna on December 6, 1910, and sent to a Miss Anna at 596 Miller Avenue in Columbus, Ohio. Given the Gahanna postmark, this house was probably somewhere in far-eastern Franklin County—perhaps in Mifflin Township or Jefferson Township. The undulating board above the recessed porch is a nice touch.
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Noticing its calm beauty, its regular and precise changes from night to night, it brings me back to how simple life can be.
That we don't have to struggle against the world to do great things or live a good life when we consider that our moon, powerful enough to command all the Earth's waters, need only silently cross the sky to fulfill its purpose.
Petone Beach
No, not 60 yards, not 65, but 62. We measured it you know. Well, yes, we probably could make generic signs for 60yards, and then just erect the sign the requisite distance away. But where would be the fun in that?
At this precise moment in time the defender has to work out who is going to get the ball. He has milliseconds to decide who to tackle. Which one would you choose? He could of course be sold a dummy. He has three choices.
Apparently this is the precise central point of California. There is a pine tree and a palm tree planted together to commemorate that glory.
American Interior - 1934
Artist: Charles Sheeler (American, 1883–1965)
Charles Sheeler based American Interior on a photograph, which he had taken from above, of the living room of his former home in South Salem, New York. He designed the painting with the eye of a photographer, using a cropped composition, an oblique view, precise contours, and contrasts of light and dark. He interwove this modernist vision with his response to the purity of forms and patterns in handmade objects from the American past, such as the simple Shaker designs in the box, textiles, and chair.
"Charles Sheeler based his 1934 painting American Interior on a photograph. He interwove this modernist vision with his response to the purity of forms and patterns in handmade objects from the American past, such as the simple Shaker designs in the box, textiles, and chair. Kathryn Scanlan and Karin Roffman will talk about objects, painting, photography, and the fine line between the imaginary and the real."
windhamcampbell.org/festival/events/close-looking-charles...
www.youtube.com/watch?v=zRa8_CQFNMk
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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OP50 preamp has four precise bands of eq (at 87Hz, 580Hz, 6.7kHz and 12kHz) that let you easily shape your tone for any venue. It features a Lo-Z balanced XLR output in addition to the 1/4" Hi-Z output, eliminating the need for a direct box. The on-board digital chromatic tuner provides instant reference, even for open or non- standard tunings