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Lauren Camp’s innovative, award-winning pieces have been in major publications and exhibited in performance spaces, on movie sets, and in cultural centers and museums in the U.S. and Europe. Images of her work and the companion poetry have been featured in numerous publications, including the Santa Fean, Jazziz and World Watch, and the poetry journals Brilliant Corners and Impetus.
Her work is housed in numerous private and public collections: The Sherwin Miller Museum of Jewish Art in Tulsa, Oklahoma; St. Vincent Children’s Hospital of Indiana; and the United States Embassies in Ashgabat, Turkmenistan and Bamako, Mali, among others.
The City of Greeley, Colorado commissioned her to create four large works for the Jesus Rodarte Cultural Center. Kaiser Permanente Hospital in Panorama City, California commissioned three works that reflect the nature of the community, and the value of quality healthcare.
Her 12-year project, a series of jazz portraits entitled “The Fabric of Jazz,” toured museums in ten U.S. cities between January 2004 and September 2007. Other exhibit highlights include the invitational Fiber Art Biennial in Chieri, Italy; the NAACP Annual Meeting, and a human rights survey exhibit entitled “Roots of Racism – Ignorance and Fear.”
She has held residency positions at Working Classroom in Albuquerque, New Mexico and the New Brunswick (New Jersey) Public Schools, working with elementary and high school students from disadvantaged communities, and has mentored adults in creativity and self-expression.
In 2004, the Gaea Foundation of Washington, D.C., an organization that celebrates arts and activism, awarded her a two-month “Sea Change” Residency. The Surface Design Association provided a grant for Lauren to create “Need is a Voice,” one of the largest works in her series, “Flinch: A Study of Your Self.” This series will begin traveling to museums in February 2009.
She is a founding board member of the Southwest Jazz Orchestra, and an audio producer and on-air jazz programmer for public radio station KSFR 101.1 FM. She received first prize in poetry from the Southwest Literary Center’s 2006 New Mexico Discovery Awards, and is frequently invited to read her poems at jazz concerts.
I made a one sided pcb of ladyada'a USBtiny avr programmer. It works like a charm, and it's easier to make at home.
The board was made with toner transfer method, also I did the silkscreen by using the same method.
I can provide the eagle project if anybody is interested.
American postcard by Fotofolio, NY, NY, no. P148. Photo: Sid Avery, 1964.
Stone-faced Buster Keaton (1895-1966) was one of the three greatest comedians of Silent Hollywood.
Buster Keaton was born Joseph Frank Keaton in 1895 into a vaudeville family. His father was Joseph Hallie ‘Joe’ Keaton, who owned a travelling show with Harry Houdini called the Mohawk Indian Medicine Company. Keaton was born in Piqua, Kansas, the small town where his mother, Myra Keaton (née Myra Edith Cutler), happened to go into labour. By the time he was 3, Keaton began performing with his parents in The Three Keatons. He was being thrown around the stage and into the orchestra pit, or even into the audience. His little suits even had a handle concealed at the waist, so Joe could sling him like luggage. "It was the roughest knockabout act that was ever in the history of the theatre," Keaton told the historian Kevin Brownlow. It led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. Noticing that his laughing drew fewer laughs from the audience, Keaton adopted his famous deadpan expression whenever he was working. For the rest of his career, Keaton was "the great stone face," with an expression that ranged from impassive to slightly quizzical. By the time he was 21, his father's alcoholism threatened the reputation of the family act, so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film. In February 1917, Keaton met Roscoe ‘Fatty’ Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. He was hired as a co-star and gagman, making his first appearance in the short The Butcher Boy (Roscoe 'Fatty' Arbuckle, 1917). He appeared in a total of 14 Arbuckle shorts, running into 1920. They were popular and, Keaton and Arbuckle became close friends. Keaton was one of few people to defend Arbuckle's character during accusations that he was responsible for the death of actress Virginia Rappe in 1921. In The Saphead (Herbert Blaché, Winchell Smith, 1920), Keaton had his first starring role in a full-length feature. It was a success and Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week (Edward F. Cline, Buster Keaton, 1920), The Boat (Edward F. Cline, Buster Keaton, 1921), Cops (Edward F. Cline, Buster Keaton, 1922), and The Paleface (Edward F. Cline, Buster Keaton, 1922). Keaton then moved to full-length features. His first feature, Three Ages (Edward F. Cline, Buster Keaton, 1923), was produced similarly to his short films and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the storylines and characterization. His most enduring features include Our Hospitality (John G. Blystone, Buster Keaton, 1923), The Navigator (Donald Crisp, Buster Keaton, 1924), Sherlock Jr. (Buster Keaton, 1924), College (James W. Horne, Buster Keaton, 1927), and The General (Clyde Bruckman, Buster Keaton, 1927). The General, set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline re-enacted an actual wartime incident. Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy. It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements.
Buster Keaton endured this treatment for two more feature films, including Steamboat Bill Jr. (Charles Reisner, Buster Keaton, 1928), and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, In 1921, Keaton had married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. She co-starred with Keaton in Our Hospitality. The couple had two sons, James (1922-2007) and Robert (1924–2009), but after the birth of Robert, the relationship began to suffer. Influenced by her family, Talmadge decided not to have any more children and this led to the couple staying in separate bedrooms. Her financial extravagance (she would spend up to a third of his salary on clothes) was another factor in the breakdown of the marriage. Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that MGM’s studio system would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage (Edward Sedgwick, Buster Keaton, 1929), as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton some creative participation in his last originally developed/written silent film The Cameraman (Edward Sedgwick, Buster Keaton, 1928). which was his first project under contract with them. Keaton was forced to use a stunt double during some of the more dangerous scenes, something he had never done in his heyday, as MGM wanted badly to protect its investment. Some of his most financially successful films for the studio were during this period. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber (Edward Sedgwick, 1932), Speak Easily (Edward Sedgwick, 1932), and What! No Beer? (Edward Sedgwick, 1933). In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. In 1932, Nathalie Talmadge divorced Keaton, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. With the failure of his marriage and the loss of his independence as a filmmaker, Keaton lapsed into a period of alcoholism.
Buster Keaton was so demoralized during the production of What! No Beer? (Edward Sedgwick, 1933) that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing. Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. When they divorced in 1936, it was again at great financial cost to Keaton. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées/The King of the Champs Elysees (Max Nosseck, 1934) with Paulette Dubost. In England, he made another film, The Invader/An Old Spanish Custom (Adrian Brunel, 1936). Upon Keaton's return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself, often recycling ideas from his family vaudeville act and his earlier films. The high point in the Educational series is Grand Slam Opera (Buster Keaton, Charles Lamont, 1936), featuring Buster in his own screenplay as a contestant in a radio amateur hour show hoping to win the first prize... by dancing and juggling. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films At the Circus (Edward Buzzell, 1939) and Go West (Edward Buzzell, 1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television. In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for two years. The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's Three Stooges comedies. Keaton's personal favourite was the series' debut entry, Pest from the West (Del Lord, 1939), a shorter, tighter remake of The Invader (1936). Keaton's Columbia shorts rank as the worst comedies he made.
Buster Keaton's personal life stabilized with his 1940 marriage with Eleanor Norris, a 21-year-old dancer. She stopped his heavy drinking and helped to salvage his career. He abandoned Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in features. He made his last starring feature El Moderno Barba Azul/Boom In The Moon (Jaime Salvador, 1946) in Mexico. Critics rediscovered Keaton in 1949. He had cameos in such films as In the Good Old Summertime (Robert Z. Leonard, 1949), Sunset Boulevard (Billy Wilder, 1950), and Around the World in 80 Days (Michael Anderson, 1956), and did innumerable TV appearances. Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952). In 1954, Keaton and his wife met film programmer Raymond Rohauer, with whom the couple would develop a business partnership to re-release Keaton's films. Around the same time, after buying the comedian's house, the actor James Mason found numerous cans of Keaton's films. Keaton had prints of the features Three Ages, Sherlock, Jr., Steamboat Bill, Jr., College (missing one reel) and the shorts The Boat and My Wife's Relations, which Keaton and Rohauer transferred to safety stock from deteriorating nitrate film stock. Unknown to them at the time, MGM also had saved some of Keaton's work: all his 1920-1926 features and his first eight two-reel shorts. In 1962 came a retrospective at the Cinematheque Francaise in Paris, and in 1965 a tribute at the Venice Film Festival. "I can't feel sorry for myself," he said in Venice. "It all goes to show that if you stay on the merry-go-round long enough you'll get another chance at the brass ring. Luckily, I stayed on." In 1960, Keaton returned to MGM for the final time, playing a lion tamer in an adaptation of Mark Twain's The Adventures of Huckleberry Finn (Michael Curtiz, 1960). Later Keaton played a cameo in It's a Mad, Mad, Mad, Mad World (Stanley Kramer, 1963) and starred in four films for American International Pictures: Pajama Party (Don Weis, 1964), Beach Blanket Bingo (William Asher, 1965), How to Stuff a Wild Bikini (William Asher, 1964) and Sergeant Deadhead (Norman Taurog, 1964). As he had done in the past, Keaton also provided gags for the four AIP films. In 1965, Keaton starred in the short film The Railrodder (Gerald Potterton, Buster Keaton, 1965) for the National Film Board of Canada. Wearing his traditional pork pie hat, he travelled from one end of Canada to the other on a railway motorcar, performing a few stunts similar to those in films he did 50 years earlier. The film was Keaton's last silent screen performance. He also played the central role in Samuel Beckett's Film (Alan Schneider, 1965) and travelled to Italy to play a role in Due Marines e un Generale/War Italian Style (Luigi Scattini, 1965), with Italian comedy duo Franco Franchi and Ciccio Ingrassia. Keaton's final film was A Funny Thing Happened on the Way to the Forum (Richard Lester, 1966) which was filmed in Spain in September-November 1965. He amazed the cast and crew by doing many of his own stunts. Shortly after completing the film, Keaton died of lung cancer in 1966 at his home in Woodland Hills, California. He was 70. In 1987, the documentary, Buster Keaton: A Hard Act to Follow, directed by Kevin Brownlow and David Gill, won two Emmy Awards.
Sources: Roger Ebert, Nicolette Olivier (IMDb), New York Times, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Detailed Product Description Programmer keys for MB ("smart key") The new Mercedes device working with smart key (old and new) using in car since 1997 up to 2005
This is a CPU programmer I designed in early 1985. It burns 68705, 68701 and family devices, pretty much all across the (then) current Motorola spectrum. I did the electronic design as a takeoff from a Motorola application note, and also the PCB layout. The case was done by the company. The PCB was a bit of fun because I had to plan for components on both sides; the ZIF socket mountings didn't leave a lot of clearance between the PCB and the top of the case.
Canon EOS 50D [modified IR response in Hα range], Canon EF-S 18-55mm ƒ/3.5-5.6 IS zoom [ø58mm], several secs exposure, two shots composed in WinImages, RAW to JPEG processing in Aperture. Available light, tripod, 10s shutter delay.
A fashion buyer at her desk.
He was once a senior computer programmer, but today he heads an online fashion platform that has 100 million registered female users.
Meilishuo CEO Xu Yirong, believes that technology is the driving force in the modern fashion industry. Beijing, China, 12/02/2015
We have a Team of practiced, proficient and knowledgeable PHP developers/PHP Programmers in our offshore PHP development /PHP Programming hub in India. Our PHP Development Team Outsource the PHP development Service from past 10 years and they have outsoure LAMP Technology, WAMP Technology, Magento Based Service, Drupal Projects
NEC PROGRAMMER
Keterangan :
COM konektor dan dukungan konektor USB juga,Mileage koreksi º C reset jarak tempuh Anda dengan langsung input data;
Bekerja pada CPU menggunakan papan NEC, dukungan userself upgration.
Berlaku model :
• Citroen Xsara Picasso( NEC MCU in BSI )
• Citroen Xsara 2000-2001 ( NEC MCU in dash )
• Citroen Berlingo 2003 ( NEC MCU in BSI )
• Citroen Saxo ( NEC MCU in BSI )
• Citroen- X-Picasso ( NEC MCU in BSI )
• Peugeot Partner 2003 ( NEC MCU in BSI )
• Peugeot 307 all ( NEC MCU in dash )
• Hyundai- Terrcan JEEP ( NEC MCU in dash )
• Hyundai- KIA ( NEC MCU in dash )
• Hyundai Terracan ( NEC MCU in dash)
• Hyundai Elantra ( NEC MCU in dash)
• Hyundai Sonata ( NEC MCU in dash )
• Honda Civic 2002 ( NEC MCU in dash )
• Honda accord 3.0 (NEC MCU in dash)
• Suzuki Wagon-R ( NEC MCU in dash )
• Renault Clio Sagem Mod2000 ( NEC MCU in dash )
• Renault- Scenic ( NEC MCU in dash )
• Renault Megane Sagem Mod2000 ( NEC MCU in dash )
• Opel Movano Sagem ab Mod2002 ( NEC MCU in dash )
• Opel Agila ( NEC MCU in dash )
• Opel- Corsa ( NEC MCU in dash )
• Alfa 147 ( NEC MCU in dash )
• Chevrolet Caprice-LT2 ( NEC MCU in dash )
• Chevrolet Explore SUV ( NEC MCU in dash)
Description:
COM connector and support USB connector as well, Mileage correction ºC reset your the mileage by directly input the data;
Works on CPUs use NEC board, support userself upgration.
Applicable models :
• Citroen Xsara Picasso( NEC MCU in BSI )
• Citroen Xsara 2000-2001 ( NEC MCU in dash )
• Citroen Berlingo 2003 ( NEC MCU in BSI )
• Citroen Saxo ( NEC MCU in BSI )
• Citroen- X-Picasso ( NEC MCU in BSI )
• Peugeot Partner 2003 ( NEC MCU in BSI )
• Peugeot 307 all ( NEC MCU in dash )
• Hyundai- Terrcan JEEP ( NEC MCU in dash )
• Hyundai- KIA ( NEC MCU in dash )
• Hyundai Terracan ( NEC MCU in dash)
• Hyundai Elantra ( NEC MCU in dash)
• Hyundai Sonata ( NEC MCU in dash )
• Honda Civic 2002 ( NEC MCU in dash )
• Honda accord 3.0 (NEC MCU in dash)
• Suzuki Wagon-R ( NEC MCU in dash )
• Renault Clio Sagem Mod2000 ( NEC MCU in dash )
• Renault- Scenic ( NEC MCU in dash )
• Renault Megane Sagem Mod2000 ( NEC MCU in dash )
• Opel Movano Sagem ab Mod2002 ( NEC MCU in dash )
• Opel Agila ( NEC MCU in dash )
• Opel- Corsa ( NEC MCU in dash )
• Alfa 147 ( NEC MCU in dash )
• Chevrolet Caprice-LT2 ( NEC MCU in dash )
• Chevrolet Explore SUV ( NEC MCU in dash)
My career as a computer programmer/analyst gives me an occasional chance to prepare charts and graphs. There is a much an art as there is a science to preparing these; a good one should give a complete and accurate picture on its own. The most famous example of this is French mapmaker Charles Joseph Minard’s map of Napoleon’s unsuccessful campaign into Russia; it not only shows the route Napoleon’s into Russia and back, but the number of Napoleon’s troops, distance, temperature, location, and direction relative to specific dates.
en.wikipedia.org/wiki/Charles_Joseph_Minard
Back in 2013, I thought it would be neat to take my lineup of Taurus models, and grow it into a “3-D chart” that shows the evolution of Ford cars going back to 1903, in roughly 1/64 scale.
It is hard to see the bands of color; but they represent various eras of Ford design evolution, from the Brass era and Vintage era of the Model T, through the pre- and post-World War II era; on up to the Kinetic Design era of today. The gradual shading shows that design changes did not occur overnight, but through succeeding releases of different models. My breaking up of the timeline to fit on three matts had an unexpected outcome – the first matt shows the early history of Ford cars when Henry Ford was alive, the latter the “Jellybean years”, and the one in the middle represents when Ford stopped placing its trademark blue oval on its cars, and instead used a herald and/or the F O R D name in all caps. Hence, the logos in the corner of each matt. The different rows show the rise of Ford of Europe and the Mustang, along with the various models through the years. The vertical component are the cars themselves; showing how they evolved in style and size over the years; for example, the SUVs/CUVs of today are roughly the same height as Fords prior to 1955.
www.flickr.com/photos/75105572@N08/15971293049/
What was most amazing about the project was the availability of so many models and marks. There are some I actually had to leave out because of space constraints – a 2002 Ranger by Motor Max and an EXP by Etrl, just to name two – because there simply was not enough space. There are also 15 paper models; see if you can spot all 15 of them.
2 Ground traces got somehow lost apparently. One is for the LED (crucial part) one for the Output Expander Thru Port (even more Crucial). I think this happened while i was trying to Pour a copper Layer which doesn't work out right.
The Key Pro M8 Auto Key Programmer is the most powerful and cost effective tool for you to add keys and make new keys. It support full range of car models, support online update and very easy to operate. Choosing the Key Pro M8 Auto Key Programmer is a worthwhile asset and generates an excellent return on investment, by providing an additional income stream for your business. www.aobd2shop.com/wholesale/the-key-pro-m8-auto-key-progr...
Genuinely and wholly supporting keys programming of all BMW from 1995-2007 year. Support Type: 1 series: E87 3 series: E36/E46/E83/E90/E91/E92 5 series: E34/E39/E53/E60/E61 6 series: E63/E64 7 series: E38/E65/E66 8 series: E52 M series: R50/R52/R53 Z series: E85/E86