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First sequence ive ever made, only did a rough cut on photoshop.
Pretty happy with results although annoyed i cut off the board on the last frame
Composite sequence at Brands Hatch Druids Hairpin on 24th June 2013 (Gary Paul on KTM 650, Tim Palmer on GSXR 750)
Detail inside "Sequence," a 1996 work in weathered steel by Richard Serra. This work is adjacent to the north lawn of the Cantor Center for Visual Arts at Stanford University.
There's 70 of these things in the room. Each one has a 96 well capillary sequencer, each which sequences ~10000 bases.
I feel like in a constant process, like developing a picture, you take it, develop it, check if it's what you wanted, or if it's something you could want. You like it, bingo, you got your identity, it's all about you and no one else!
Then goes the printing, you set the time, contrast and aperture that will define how that negative will be printed into the photosensitive paper, the identity that defines how you socialize, do and want things, to then develop it and check if it's all right, is that what you wanted? Or something you would want? "Maybe if I increase the exposure time q lil bit..."
Go to the printing process again, get the results, "it looks overexposed", "too much contrast!", everyone will see it differently but what matters is you, cause you are developing your way of thinking. It is still you! It's the same picture being printed over and over again, the identity you captured before everything!
Some people would maybe realize "well, this is totally not me" go way back and take another picture, find their identity again. Or maybe realize they know what they are all the way to the end. Maybe they'll find that perfect print that reflects them, or maybe their perfect print is just all about the hunt for it, on a constant developing of who we are, what we are, what are we doing in this world and what are we actually seeking?
Why are we seeking?
Who am I?
What should i think about this or that?
Why am I in this exact spot, speak these languages and feel certain things?
South aisle window by Morris & Co from c1910-20, from a sequence utilising earlier designs by Edward Burne Jones alongside new figures by John Henry Dearle (both here by the latter).
Rugby School Chapel is one of my favourite buildings, a gloriously eccentric piece of Victorian architecture that dominates the centre of my hometown of Rugby, so it has been a familiar landmark throughout my life (my secondary school used the chapel towards Christmas when I got to sing from the choir stalls). It is one of the most ambitious buildings of William Butterfield, an architect renowned for his love of polychrome brickwork whose work is a defining feature of the town, mostly in various parts of the School complex.
The previous chapel was by Henry Hakewill (who designed the older parts of the present school) and finished in 1821 and was a much more modest affair. It was rebuilt by Butterfield in 1872 on a far grander scale and with the distinctive octagonal tower over the chancel that has become such a symbol of the school since. Initially the nave of the old chapel was retained when the new transepts, tower and apse were built, but this was later rebuilt in a style more in keeping with the rest of the building by Thomas Jackson in 1897-8 (with the elderly Butterfield's assistance). The chapel has thus retained a more unified appearance inside and out ever since.
The distinctive forms of the octagonal steeple abruptly perched over the apse followed by double transepts and all executed in Butterfield's hallmark stripes of brick of contrasting colours make this chapel a memorable sight, Victorian architectural confectionery at its best. The interior is equally impressive, the bands of colour from stone and brick added to by the striking black and white of the ceiling. The space is formed of three distinct units, firstly Jackson's nave with its low side aisles, followed by the vast open space of the transepts contrasting sharply with the narrow chancel and apse beyond.
The chapel is an architectural delight, however what makes a visit to it all the more rewarding is the superb collection of stained glass, a surprising mixture encompassing Northern Renaissance to the late Pre-Raphaelite. Four windows contain early 16th century continental glass imported in the early 19th century (and originally installed in the old chapel). The finest is the Flemish glass in the east window, showing the Adoration of the Magi. There is much Victorian glass by several makers, mainly Alexander Gibbs who regularly worked with Butterfield and whose huge windows dominate the transepts. The nave contains more compelling work, predominately late pieces by Morris & Co including the stunning west window by J.H.Dearle.
Frustratingly the chapel is rather difficult to visit, it is a working school and thus camera-wielding visitors aren't generally welcome unless they join one of the tours of the school (usually Saturdays around 2pm) which includes the chapel but gives rather limited time.
I am therefore hugely indebted to Peter (Jacquemart on Flickr) and staff member Anne Haughton for kindly arranging this visit, the first time I've been able to fully enjoy this space for several decades.
Free photographs of sequences to use for any reason. Check out TheWriteMoms.com for more free stuff including photoshop patterns of these.
Sequence differences between eight S. cerevisiae strains, S. paradoxus and S. bayanus.
A: Schematics of PDR5 gene regions; B: Amino acid difference for whole PDR5 sequence; C: Amino acid difference for transmembrane domain regions of PDR5 sequence. The topology information for the WT Pdr5p was downloaded from UniProtKB/Swiss-Prot database (www.uniprot.org/uniprot/P33302). PDR5 DNA sequences of eight strains of S. cerevisiae (DBVPG1788, DBVPG1853, K11, NCYC361, S288c, YJM789, YJM981 and YPS606) were downloaded from a recent study [41]. Only the DNA sequences without any frame-shift mutations were used in this study. DNA sequences of PDR5 gene in S. paradoxus and S. bayanus were downloaded from NCBI database. The phylogenetic tree of these species was adapted from Fitzpatrick et al. [60]. The data were analyzed by Matlab and the different color schemes represent levels of amino acid similarity.