View allAll Photos Tagged sequencer
Front Board Sequence Parkfield, Went down My local For an afternoon Skate, And found myself taking Some Shots Of Local Skater Josh Harper Getting a front Board Down The Hand Rail, Hope You Enjoy!!
This is an analog sequencer I started after I had ordered some pink and blue LEDs for valentine's day. It doesn't make sound, but puts out a cycle of changing resistances (12...41...0...108...12...41...0...108, etc.) that can be used to control a simple frequency generator, synthesizers, or even be used as an input sensor for Pure Data, MAX/MSP, etc. via an Arduino (or Dorkboard). There are 12 knobs to set resistances/notes, and one for tempo. The other knobs and output jack connect to a simple synth breadboarded on the inside. I added them just to make interfacing a bit easier, but they are separate from any functions of the sequencer. Sorry for the small photo!
- Couleurs Printemps -
- Séquence Rouge queue ...
- Merci pour vos passages sur les vues, favoris et commentaires
- Thanks all for the views, favs and comments, very appreciated.
See this image abstracted
Sequence in its assembled form is sixty-seven feet long, forty-two feet wide, and twelve-feet-nine-inches tall. Composed of segments of contoured weathered steel, it weighs two-hundred-thirteen metric tons.
Twelve semi-trailer trucks, each carrying one segment of the work, travelled eight days cross-country to bring Sequence from the Museum of Modern Art in New York—where, along with Band, it had been part of the museum's recent Serra retrospective. The trucking company is J.F. Lomma of South Kearny, N.J., which specializes in the transport of heavy freight.
The caravan of trucks arrived at LACMA around nine o'clock on Wednesday night, and the pieces were lifted down by crane the next day, beginning at nine in the morning. Expected to take two days, the unloading was complete by five-thirty.
"It was smooth, very smooth," said Julie Wietecha, project engineer with Matt Construction, as she walked the corridors formed by the curving, rust-red segments on Friday. "We saw them out on the trucks and we thought, 'Oh my god, how are we going to get these in?' first of all. But they're beautiful. This is nice work."
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I shot this while out of sight of the watchful guards, no photography allowed in the museum.
Meanwhile my photostream was view 90,000 times as of today. Thanks to all.
My photos awarded the :Photographic Art Legacy
Flickr Lounge: photographer's choice
I was debating leaving for the day when I noticed that the mother osprey was getting restless. I thought she might take one of her periodic stretching flights soon, so I decided to wait a few more minutes. In the next ten minutes, she left the nest twice and the chicks began stretching their wings, apparently picking up on her restlessness. I didn't see the stick in her talons when I took this series of photos, but I am delighted I captured the sequence.
The nest has three juveniles of several weeks old (probably four to five weeks).
This is a sequence of 4 shots where a Wood Swallow catches a mealybug in flight, returns to the branch and then starts the process of killing and eating the bug.
I have been wanting to try this! Our weather of late has been warm and the snow has turned hard and crusty. Good news is the foxes and coyotes can walk on top of the snow -- bad news is they really have to dive down hard to make a hole to the vole. Sometimes, like this guy, they get stuck and it takes awhile to extricate themselves. This fox finally got out with the vole intact!
Infrared shooting by the shores of lake Skarresø in Jyderup, Denmark. Brilliant weather and what a magnificent feeling it was to be in such a gorgeous, cozy place. Two duck passed by and make my frame just perfect.
Exif: ISO 200 ; f/5.6 ; 1/100 ; @18mm
InfraRed converted camera, 840nm
Taken last year from one of Steve Race's gannet trips, this is a sequence of shots stitched together in Photoshop.
It is not the Moon that is regressing; rather, we, on the lap of and along with Mother Earth, are orbiting and shadowing over the Moon. It reminds one of Plato’s allegory of the cave — light and darkness shaping what we perceive as real. This silent soliloquy reverberated in the vacuum of the orbiting solar system, in the infinite darkness of the universe, occurring as some celestial events of which randomness is apparent, but when looked upon closely, a prefixed destiny of meeting and moving away. This natural cosmic chiaroscuro is formed by our own reflection, along with a complete shadow of what has been our home for millions of years, what has been the total summing up of what we were, are, and ever will be, and what were ours, are, and ever will be in the same vessel or chalice. As the human race, did we ever want to see our face in the mirror? Maybe a lunar eclipse is none other than Allah's reminder to check our own visage in the mirror, in totality. Shakespeare called the Moon ‘the sovereign mistress of true melancholy,’ and does she seem to embody that particular mood here, slipping quietly into obscurity? I think not. I think it is the original form of humility that was supposed to be the ultimate companion of a person, in the somnolent walk of life. However, we are always so easily dazzled.
This begins with a sun and a virgin planet. Now the dream sequencer does look for the perspectives, points of convergence and centers of interest. Hope the path is a good one for the life and diversity of the dream!
Press "L" to enlarge it.
Palermo’s Palazzo delle Poste e Telegrafi (1929–1934)
Your frontal composition is perfect for this building because it was conceived as a demonstration of strict order and modular clarity. Designed by Angiolo Mazzoni in the language of Italian Rationalism, the post-and-telegraph headquarters asserts itself on Via Roma with a deep, temple-like portico of ten colossal columns and a heavy entablature. Behind that disciplined façade is a reinforced-concrete frame clad in locally quarried Billiemi stone, laid out with rigorous symmetry around two side courtyards. The frontality of your shot heightens the building’s serial rhythm—the equal intercolumniation, the stacked horizontal bands, and the measured void of the portico—which are all about efficiency, legibility, and civic monumentality. Even small details were designed for coherence, from the custom metalwork to the calibrated lighting, and the entrance sequence pivots around a large elliptical staircase that dramatizes movement within an otherwise tightly ordered plan.
Wikipedia
Wikipedia
Balarm.it
dialecticsofmodernity.manchester.ac.uk
The interiors extend this programmatic clarity into a visionary register: the Conference Room carries five Futurist panels by Benedetta Cappa Marinetti—a cycle on land, sea, air, telegraph and radio communications—made specifically for this building, with additional works by Tato and Piero Bevilacqua, plus a bronze Diana cacciatrice by Corrado Vigni. Reading the architecture through your frontal view, you’re foregrounding exactly what the project celebrates: communication, modern services, and a state-of-the-art public machine expressed through proportion, repetition, and an almost didactic symmetry—without needing any extra scenography.
Wikipedia
(Key dates for reference: construction 1929–1934; inauguration 28 October 1934.)
Wikipedia
It was around sunset.
Looking through window, I saw this massive massive column slowly rising.
Wow... I grabbed my camera without a second thought and started shooting.
The light kept changing and the sunset ray formed a beautiful rim light around the column.
Slowly, the column began to split into smaller parts and rain started.
This is the first time I shot such a thing in sequence and the experience is so unforgettable. :)
This is the next image in the sequence of 5 I am showing of an unsuspecting beautiful Great Blue Heron about to be attacked by a large, hungry alligator. At this point the bird stills seems to be unaware of the slowly approaching alligator that is behind it. In the next images I will be posting, I will show you how the attack and the bird's lucky escape unfolded, all in the span of a few seconds. View On Black
The images were photographed at Gatorland in Orlando Florida, where I when for a photoshoot with my Flickr friend Steve Page (iTail). You can check out his fine images at: www.flickr.com/photos/sdpage/