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A Kostelanetz Program
André Kostelanetz And His Orchestra
Columbia Records/USA (1955)
Cover by Robert Velde
WBRE-TV Wilkes-Barre PA program listings from January 1953, the station's first month of broadcasting.
Catalog #: 08_00962
Title: Space Shuttle Program
Date: 1981-2010
Additional Information: Space Shuttle Concept
Repository: San Diego Air and Space Museum Archive
Title: Space Shuttle Program
Catalog #: 08_01005
Date: 11/12/70
Additional Information: shows a model concept for a space shuttle
Repository: San Diego Air and Space Museum Archive
At the risk of sounding crazy, allow me to introduce the newest member to my kit, a Canon AE1 Program...
Got it last week along with a Canon f1.4 FD Lens and I got it to click only and only B/W film...
lets see how it goes from here!
Some more pictures here : rightmore.blogspot.com/2009/02/taking-step-back.html
Title: Space Shuttle Program
Catalog #: 08_01048
Date: 1981-2010
Additional Information: Space Shuttle Concept
Repository: San Diego Air and Space Museum Archive
Day 48 being the 15th birthday celebration of my kid. Now he wanted Legos to construct. Thought that a robot to be able to program would be a better solution. He's enjoying it.
Public info URL
www.safecreative.org/work/2005033862760-day-48-making-robots
Les dejo mis redes sociales a esas personas que siempre me apoyan en flickr, no quiero perder el contacto con la gente, mi facebook seria este www.facebook.com/wilsoncaceresart y para diseñadores y artistas que ya tengan behance, el mio seria www.behance.net/wilsoncaceres .
Espero que sigamos en contacto no se pierdan :D gracias por haberme apoyado durante tanto tiempo
Catalog #: 08_00876
Title: Space Shuttle Program
Date: 1981-2010
Additional Information: The Space Shuttle
Repository: San Diego Air and Space Museum Archive
Catalog #: 08_00889
Title: Space Shuttle Program
Date: 1981-2010
Additional Information: Plateaus in Space Transportation
Repository: San Diego Air and Space Museum Archive
This camera dates to about 1983 and was the flagship model of the Pentax consumer line below the professional MX and LX bodies. While it does not feature the robust construction of its pro brothers, it has a full feature list that includes:
-- Programmed exposure automation
-- Aperture priority auto exposure
-- Shutter priority auto exposure
-- Metered manual
-- TTL (off the film) flash metering
-- Motor drive/auto winder compatible
-- Full information LCD viewfinder
Mine was in like-new condition when recently purchased and came with a matching case in similar shape.
Among the galaxies, there are billions of planets and stars, among them, only a few million that support life. The inhabitants name this planet; Spectra.
The species that evolved into sentience was spread throughout the planet by a drastic geological event. This resulted in the isolated and continued evolution of new forms of previously similar species. Eventually, this resulted in over thirty species of sentient species inhabiting a planet far larger than any lesser planet; I.E. Earth. Eventually the barriers that created these species were broken due to natural weathering. The different colored species all adapted to their endemic environments were suddenly thrown into the mix together. At first, wars broke out and chaos reigned, but over a million years, give or take a few hundred thousands years, the dust settled and most of these genetically dissimilar species became one and unified. In the aftermath, the smartest and bravest of these factions crafted a way in which a war amongst the species would never again break out; The Archwielder Program.
Each species on this planet, that are related, have different colors due to the different environments that they adapted to over the millennia. Not only do they have different colors, but each individual has their own unique genetic ability. This planet is not like most planets. It was created by another race of mysterious beings that were able to fuse mechanical, biological, and cybernetic material together. This is how the beings of this world have abilities that would seem “supernatural” to an ignorant mind. These beings are inexplicably linked to their environments and because of this they have control over their environments.
The Archwielder Program was instituted by the survivors of the Millennial Wars the leading heads of which include; lieutenant Dextrix (Who was one of the elite guards for royalty and led the Golden Sect), Captain Dreadnaught(A rogue that took control of the rebellion), and Admiral Aurora(Who took charge of her own brigade of peacekeepers to keep the streets clean during the war).
The Archwielder Program’s initiative was to create a system in which individuals were sorted into the field that the individual excelled in or found interest in. These individuals were gathered into groups of the same species and then sent out across the planet to keep the peace in any way that they could in the environment they were most suited for.
The Districts of the planet are artificial by name alone but have been divided by the sloppy hand of nature itself. These districts include;
Stone District: Brown, Tan, Black, and Purple species reside hear.
Water District: Various shades of Blue reside hear.
Fire District: Various shades of red, orange, and yellow reside hear.
Electricity District: Various shades of yellow and green reside hear.
Flora District: Various shades of Green reside hear.
Radon District: Various shades of Phosphorescence reside hear.
Ice District: Various shades of white, blue, and transparents reside hear.
The unusual abilities of the members of each of these species include;
Red: Pyromancy, Magmanacy, etc.
Orange: Photokinesis, Levitation, Etc.
Yellow: Heliokinesis, Electrokinesis, etc.
Green: Aerokinesis, Air mimicry, etc.
Lime: Acidokinesis, Radiokinesis, etc.
Blue: Hydrokinesis, etc.
Purple: Crystallokinesis, etc.
Violet: Telekinesis, etc.
Brown: Ferrokinesis, Geokinesis, etc,
White: Cryokinesis, Umbrakinesis, etc.
Black: Necromancy, Geomancy, Levitation, etc.
Neons: Plasmakinesis, Dynamokinesis, etc.
Individuals within a specific species can also generate different abilities due to genetic variability granted from parental mating. When individuals of different species mate their offspring may have more of one parent’s abilities and color or a mixture creating a hybrid of abilities, or creation of new abilities altogether.
The ranks within the system include;
Scout: lowest ranking individual, new recruit learning in the academy, signified by three buttons of their respective color.
Gladiator: More experienced individual, knows their way around, signified by custom made holster of their respective make.
Warrior: At least 5 years of experience can defend themselves and knows which profession they are going into, signified by custom markings of their respective color.
Wielder: At least 10 years of experience, has near-complete control of their natural ability, signified by twin black straps over shoulders with respective make and color.
Lieutenant: At least 30 years of experience, has complete control of their natural ability, signified by ceremonial necklace of respective color and make.
Captain: At least 50 years of experience, has not only complete control of their natural abilities but has near-complete understanding of their role in the program, signified by armband of respective make and color.
Admiral: At least 100 years of experience, has complete and utter control of their ability to an extreme, is an expert in their field, signified by custom weapon of their respective color and design.
Archwielder: At least 200 years of experience, has such a complete understanding of their abilities and role within existence that they can only be challenged of an equally experienced individual, signified by lack of a weapon and evolution of facial mask/helmet of respective color and make.
The groups of individuals tasked with keeping quadrants/districts safe and free of unnecessary violence are known as Garrisons. These Garrisons are rotated semi-annually and the participants are also rotated to avoid creation of racial/genetic divisions amongst the students. The Garrisons that exist include;
The Lightning Garrison (Full Charge)
The Magma Garrison (Spicy Sauce)
The Bezerker Garrison (The Bludgeoners)
The Firecracker Garrison (Lit Fuses)
The Hydra Garrison (Ebb and Flow)
The Flora Garrison (Peace on Earth)
The Fauna Garrison (Tooth and Claw)
The Phota Garrison (Best and Brightest)
The Terra Garrison (The Crusties)
The Dust Devil Garrison (The Dust Devils)
OLA MENINAS
E COM GRANDE FELICIDADE QUE VENHO DIZER QUE FUI UMA DAS TRES ESCOLHIDAS PARA SER UMA DAS PROFESSORAS DO PROGRAMA TUDO ARTESANAL DO PETER PAIVA.
PARA ISSO PRECISO DA AJUDA DE VCS VOTANDO NO LINK NO SITE DO PROGRAMA TUDO ARTESANAL.
BASTA SEGUIR ESTE LINK:
www.tudoartesanal.com.br/casting.php
E CLICAR NO VOTAR AO LADO DO MEU NOME
VCS PODEM ME AJUDAR CLICANDO LA E DEIXANDO UM COMENTARIO AQUI NO FLICK
QUEM PARTICIPAR VOTANDO E DEIXANDO UM COMENTARIO AQUI VÃO ESTAR CONCORRENDO A UMA BONECA PRONTA DO PROJETO PASCOA ENCANTADA MENINA CORALINA.
E UMA MANEIRA DE AGRADECER AO CARINHO DE VCS.
O SORTEIO VAI SER FEITO NO DIA QUE SAIR O RESULTADO DA VENCEDORA.
ASSISTAM E VOTEM!!!! PARTICIPEM !!!!!
BEIJOS
OBRIGADA
An early 80s Pentax camera which I usually keep in a drawer. It has a 50mm f/1.7 manual focus lens attached. This is a mixture of natural light and a touch of bounced flash. I'm still not sure if the darned photo is straight. I'm having trouble with that.
The Pentax Program Plus was a very advanced SLR for its time. In the early 80s the Pentax system really took the world by storm. I do not see this particular camera discussed very much on the net, though. The "Super" and the "ME" versions seems to be more popular.
I am at home sick today. I thought I'd take a couple photos and do some photo editing while I'm lying around. The decongestant that I'm on may have something to do with my inability to keep the camera level, even with a tripod. I guess I'll have to look at this again tomorrow.
Photo credit: Elena Olivo
Copyright: NYU Photo Bureau
The Fall 2010 Student Hackathon brought in hundreds of students from 30 universities to NYU's Courant Institute for 24 hours of creative hacking on New York City startups' APIs.
Selected startups presented their technologies at the beginning of the event, and students formed groups to brainstorm and begin coding on their ideas. Many students worked into the night, foregoing sleep to fulfill their visions.
On Sunday afternoon students presented their projects to an audience including a judging panel, which selected the final winners.
hackNY hosts hackathons one each semester, as well as a Summer Fellows Program, which pairs quantitative and computational students with startups which can demonstrate a strong mentoring environment, a problem for a student to work on, a person to mentor them, and a place for them to work. Startups selected to host a student are expected to compensate student Fellows. Students enjoy free housing together and a pedagogical lecture series to introduce them to the ins and outs of joining and founding a startup.
For more information on hackNY's initiatives, please visit www.hackNY.org and follow us on twitter @hackNY
Was gifted this camera and decided to try my hand at 35mm photography. Loving this camera so far!
Coming in at #13 on my list of photos to hit 1k views. I printed a 5x7 of this one because I liked it so much, but it looks like I'll be ordering an 8x12 of it now :) Thanks everyone.
Catalog #: 08_00961
Title: Space Shuttle Program
Date: 1981-2010
Additional Information: Space Shuttle Concept
Repository: San Diego Air and Space Museum Archive
Catalog #: 08_00873
Title: Space Shuttle Program
Date: 5/4-9/89
Additional Information: The Space Shuttle
Repository: San Diego Air and Space Museum Archive
flickriver.com/photos/javier1949/popular-interesting/
Nuevo Museo de la Acrópolis
C/ Dionysiou Areopagitou 15, área histórica de Makrygianni, Atenas. Grecia
Bernard Tschumi, Arquitectos: Bernard Tschumi y Michael Photiadis 1999-2009
La Acrópolis, que data del siglo V antes de nuestra era, es el símbolo de la civilización griega antigua y uno de los lugares más visitados del mundo. El Nuevo Museo se encuentra en la ladera sureste de la colina de la Acrópolis, en el antiguo camino que conducía a la "roca sagrada" en la época clásica. Se ubica a 280 metros en línea recta colina abajo del Partenón, a la entrada de una red de caminos peatonales que enlazan los sitios arqueológicos y monumentos de la Acrópolis. Este lugar fue seleccionado cuidadosamente para permitir un diálogo entre los espacios de exposición del museo y los edificios de la Acrópolis.
El museo primitivo se situaba dentro de la Acrópolis, y tuvo su origen en 1833, después de la retirada de los turcos, cuando se almacenaron los primeros descubrimientos arqueológicos en una cisterna, sita al oeste del Partenón. Entre los años 1865 y 1874, el arquitecto Panages Kalkos construyó un primer museo que es ampliado tras las excavaciones de 1866-1889. Tras la Segunda Guerra Mundial parte del edificio fue derribado. En la década de 1950 se procede a su restauración y modernización a cargo del arquitecto Patroklos Karantinos. En 1978 el gobierno heleno decidió trasladar el museo fuera de la Acrópolis debido a la falta de espacios de exposición. Hubo para ello cuatro concursos, los dos primeros, con participación de arquitectos griegos únicamente. Estos no produjeron ningún resultado ya que las parcelas seleccionadas para las construcciones propuestas se consideraron inadecuadas. En 1989, un tercer concurso, internacional esta vez, con tres posibles ubicaciones, es ganado por los arquitectos italianos Nicoletti y Passarelli. Los trabajos de construcción del nuevo museo comenzaron sobre la base de este tercer diseño, pero se detuvieron en la fase de las excavaciones para los cimientos debido al descubrimiento de los restos de una antigua ciudad de Atenas, excavando más de 43.000 m2. Se levantó entonces una polémica sobre la conveniencia de encontrar otra ubicación al edificio, que desembocó en la anulación de la competición en 1999. El cuarto concurso se realizó con la premisa inicial de la preservación de los restos arqueológicos, por lo que el edificio debería levantarse sobre pilotes. El nuevo concurso fue por invitación, siendo ganado por el estudio del arquitecto suizo asentado en New York Bernard Tschumi, en colaboración con el arquitecto griego Michael Photiadis. En su proyecto, los restos arqueológicos descubiertos fueron conservados e integrados en el diseño del Museo, siendo una parte importante de la experiencia del visitante.
El Nuevo Museo de la Acrópolis, inaugurado el 20 de junio de 2009, contiene esculturas de piedra y bronce, procedentes de excavaciones próximas a la Acrópolis. Las colecciones expuestas en él se dividen en dos grandes épocas, la Época Arcaica y la Época Clásica. Con el museo en funcionamiento las autoridades helenas esperan ganar la larga batalla para recuperar los restos que fueron trasladados a Londres en el siglo XIX y que Grecia reclama insistentemente.
El proyecto se basa en tres conceptos que transformaron las limitaciones del sitio en potencialidades: luz, movimiento, y concepto tectónico y programático.
La Luz: Más que en cualquier otro tipo de museo, la luz se tomó como concepto primordial en el diseño. Al tratarse de exposiciones de esculturas, las condiciones necesarias difieren de las que se encuentran en una exposición de pinturas. Es, en primer lugar, un museo de la luz natural, relacionada con la presentación de objetos escultóricos dentro de él.
Movimiento: El recorrido ofrecido a los visitantes se basó una rica secuencia de movimiento, tanto a través del tiempo como en la espacialidad.
El concepto tectónico y programático La manifestación de la estructura del edificio se refleja en el exterior y en el interior del mismo. Se articula de tal manera que está diseñado en torno a las necesidades específicas de cada parte del programa.
El volumen del edificio se articula mediante tres cuerpos superpuestos y con perímetro diferenciado: base, cuerpo central y nivel superior, diseñados en torno a las necesidades específicas de cada parte del programa.
En la base, realizada sobre pilotes que flotan sobre el sitio arqueológico, se ubica el hall de acceso con vistas a las excavaciones Makrygianni, los espacios de exposiciones temporales y todos los servicios de apoyo, incluyendo la tienda de regalos. Al estar implantado sobre pilotes en un sitio arqueológico, se usó en algunos sectores pavimento a base de vidrio transparente a través del cual el visitante puede ver las excavaciones.
El central es una gran plaza de forma trapezoidal de doble altura donde se ubican las galerías de la época arcaica del Imperio Romano, con total flexibilidad. Se accede aquí a través de una rampa de cristal transparente. En una sala central, iluminada cenitalmente, se sitúan las Cariátides procedentes del Erecteion. Una entreplanta acoge un auditorio multimedia para 200 plazas, un bar con vistas a la excavación arqueológica y un restaurante con una terraza y espectaculares vistas a la Acrópolis.
La parte superior, “la galería del Partenón”, es rectangular con más de 7 metros de altura y una superficie superior a 2.050 m2. Su eje gira 23 grados respecto del resto del edificio al objeto de situarse en paralelo a la Acrópolis y orientar los mármoles del friso exactamente como estaban dispuestos en el Partenón. La cubierta transparente proporciona una luz ideal para las esculturas y una visión directa hacia y desde la Acrópolis. Uno de los objetivos de la galería principal es reunir a los frisos del Partenón, actualmente dispersos en varios museos del mundo. Aquí núcleo de hormigón del edificio, que penetra hacia arriba a través de todos los niveles, se convierte en la superficie sobre la que se montan las esculturas de mármol del friso del Partenón. Este núcleo permite que la luz natural llegue a las Cariátides en el nivel inferior. La Parthenon Gallery ofrece una vista panorámica de 360 grados de la Acrópolis y la Atenas moderna.
La circulación dentro del museo está planteada de forma cronológica, de tal manera que el visitante recorre un paseo arquitectónico e histórico.
El edificio se construye sobre una red de columnas, dispuestas de forma que se conservan cuidadosamente los restos arqueológicos del sitio. Los pilotes atraviesan el suelo hasta la roca firme y flotan en los rodamientos de rodillos capaces de soportar un terremoto de máxima magnitud.
La construcción fue pensada en relación a la durabilidad y la resistencia al paso del tiempo, para que el edificio envejezca con gracia, a pesar del pesado volumen de tráfico de un destino turístico internacional. Los materiales fueron seleccionados por su sencillez y sobriedad: vidrio, hormigón y mármol. La transparencia del vidrio filtra suavemente la luz a través de un proceso de serigrafía. La estructura es de hormigón armado. El suelo de mármol se diferencia de acuerdo a las zonas del edificio: negro para la circulación, color beige claro para las galerías.
es.wikiarquitectura.com/index.php/Nuevo_Museo_de_la_Acr%C...
www.archdaily.com/office/bernard-tschumi-architects
www.archdaily.com/61898/new-acropolis-museum-bernard-tsch...
www.nuevarevista.net/articulos/el-nuevo-museo-de-la-acrop...