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The famous Golden Gate Bridge Art Car at night on The Playa - Burning Man, 2010
Larry Eiring, Photographer, Hope and Dreams Studios. For information regarding this or any other photograph, please contact the photographer by email to hleiring@yahoo.com.
PLEASE NOTE: This photograph is protected by specific rights granted by the Burning Man Project and Black Rock City, LLC. to the photographer and may not be reprinted or reposted without permission.
April 24, 2022 - "The beguinage in Bruges dates back to the 13th century, to 1245 to be specific, and it counts as one of the best preserved. Most of its buildings are not as old, from the 19th century, but the original layout of the Beguinage has been kept as well.
A Beguinage was a community of women who follow the example set by the apostles: poverty, simplicity and preaching. These are lay orders, who do not take binding vows. They could at any time break their vows and leave the Beguine community.
The site is particularly beautiful in spring when daffodils are sticking their heads above the grass in the central square.
The Beguines were a movement of single or widowed women who wanted to live in a pious way but outside the walls of a convent or monastery. So in many north Belgian and Dutch cities beguinages were set up where these women lived and prayed. The beguines led an industrious life, initially earning their income with looms. No vows were taken but they kept to a strict regime under a mistress who guarded the independence of the establishment. The last beguinage nun left in 1927 and since then it has been home to a community of Benedictine nuns.
As you step through the gate into the courtyard silence descends and it is as though you are in another world.
You enter the Beguinage over a small bridge and through a gatehouse dating from 1776.
There has been a church on this site since 1245 although the first burned in 1584, and the Gothic replacement - built in 1605 - was given a Baroque facelift around 1700. It is dedicated to St. Elisabeth of Hungary, the patron of quite a number of beguinages and the rather obscure St. Alexis, reputedly the son of a wealthy Roman family who chose poverty and charitable work over riches: desirable virtues with Beguines. This is still an active church with daily services led by the Benedictine Sisters who occupy the former beguinage. As with the rest of their home, silence is very kindly requested.
The altar to the right is dedicated to St Joseph. The gilded Madonna and child below is the chapel’s Medieval treasure: "Our Lady of Consolation” or “Our Lady of Spermalie ” dates to 1240.
In the corner to the left of entrance of the beguinage is a small museum which recreates the living quarters of a beguine. There is an excellent gift shop here selling a wide range of Catholic related goods.
Finding the Beguinage was like finiding a little piece of solitude in busy touristy Brugge. Once inside, the busy streets and clatter of horses on the cobbled streets are left behind to be replaced by the peaceful view of an expansive lawn planted with poplars and surrounded by groups of houses.
The beguinage is nicely located near the Lake of love." Previous text from the following website: visit-bruges.be/see/places-interest/beguinage-begijnhof
Sêr Solar, a new world-class solar energy research centre to support the growth of the solar industry in Wales has been launched by Swansea University after being awarded £6 million from the Welsh Government’s Sêr Cymru programme. Headed by one of the world’s pre-eminent solar energy research scientist, Professor James Durrant, the new Sêr Solar initiative is based alongside Swansea University’s SPECIFIC at the Innovation and Knowledge Centre (IKC), Baglan Energy Park.
This specific ferry is called the Washington, which is a pretty typical name for a ferry anyway, and it's even more obvious when you know it's going to Washington Island, one of the 19,767 geographical entities in this nation named for George Washington. (Editor's Note: I can not tell a lie. That number is made up. It is one less than the number of things this page has previously reported to be named "Castle Rock.") A short while after I took this picture while I was still puttering around on the beach, a second ferry returned from Washington Island. That ferry was called Madonna which is a lot less typical. So say what you want about Britney Spears or Christina Aguilera or Beyoncé Knowles, none of them have Wisconsin ferries named after them.
The lighthouse on the other side of the water sits on Plum Island -- which the ferries bypass -- and is called the Plum Island Rear Range Lighthouse. It was built in 1897 to mark the Death's Door Passage between Green Bay toward the left and greater Lake Michigan toward the right.
The specific identity of the sitters in this, Titian’s largest group portrait, is disputed, but the man in the centre is most likely Andrea Vendramin (1481–1547), while the one on his right is his brother Gabriel Vendramin (1484–1552), a significant collector of works of art. The boys are the former’s seven sons. The reliquary of the True Cross on the altar still exists in the Scuola di S. Giovanni Evangelista in Venice. It was presented to an earlier Andrea Vendramin, Guardian of the Scuola, on behalf of this confraternity in 1369. On one occasion he is said to have rescued it from a canal.
The painting was surely made for a specific site in the family’s Venetian palazzo. During execution, however, it was cut down on the left, probably because the patron changed the intended location. This accounts for the slightly awkward accommodation of the three boys at far left, who were surely painted by the artist's workshop. The two boys on the far right were probably also painted by an assistant: they are markedly drier of execution than the freely and luminously painted boy holding a puppy. Parts of the paint surface have become transparent with time, revealing to the naked eye Titian’s vigorous preparatory underdrawing of Gabriele.
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I'm starting to purchase some relatively expensive gemstones. I wanted to know how I could be sure of what I was purchasing when there are some misleading trade names and vendors that may not ask as many questions of their supplier as they should.
Calculating the specific gravity of your new sparklies is a good method and can be done fairly inexpensively.
blog.autochthonous-evolved.com/2013/04/making-sure-your-g...
Development photograph for the site specific project that experiments with a surreal composition.
February 2011
As a little experiment today I decided to go out with only my Fujifilm X-E1 and a handful of classic Olympus Pen F Zuiko lenses. (To be specific I took the 25mm f4, 40mm f1.4 and 100mm f3.5 lenses… all beautifully compact and easy to carry!)
I found the experiment worked out pretty well! Manual focusing on the X-E1 turns out to be a pretty easy, convenient and enjoyable thing, despite the absence of the latest focusing technology like focus peaking.
Olympus Pen F half-frame lenses make a great deal of sense on an APS-C mirrorless camera like the X-E1. The format they were designed for (i.e. half-frame 35mm or 18x24mm) is only very slightly larger than the size of a typical ASP-C sensor (about 15.6x23.6mm) so you are using the lenses very close to their intended field of view. In other words a wide angle is still a wide angle (just about 8% less wide angle).
But whatever the technicalities,I guess the proof of the pudding is in the eating (or looking, in the case of photographs!) so what do you think?
Ironically Olympus Pen F lenses make much more sense on the X-E1 than they do on an Olympus Digital Pen! I've been wondering for a while just how practical it would be to get by with nothing but Olympus Pen F lenses, and I have to say I'm quite please with my first experiment. I will now be looking for more Pen F lenses… it's just a shame that the most desirable ones (like the 38mm macro, 60mm f1.5 and 70mm f2) are so damned expensive!!
Sara Schnadt
Network, Domestic Intervention
July 31st – August 21st, 2010
Opening reception Sat July 31st, 3pm – 8pm
Exhibition continues thru Sat Aug 21st by appointment
Sara Schnadt is a Chicago-based performance/installation artist. Raised on an international commune in Scotland, an ‘alternative’ context which considered itself as a social experiment outside of conventional culture, she spent formative years understanding herself as an outsider, an observer. Since moving to the United States in 1986, Sara has become fascinated with the unifying rituals and values that are common threads in contemporary western culture, and has made work that frames and resonates with those common threads.
Formally, Sara makes performance and installations that use task, found objects, interactivity, projection, and movement derived from common gestures. Her work creates environments that shift the audience regularly from spectator to participant as the performer constantly moves between pedestrian and more stylized or evocative activity and the viewer negotiates spacial immersion in the work.
Works often take shape as installations and live activities that translate data visualizations of large quantities of socially-resonant information into material, gestural and poetic form.
Network, Domestic Intervention
Since November 2009, site-specific versions of Network have been created in Chicago for an unused store front downtown and a gallery space at Hyde Park Art Center. For What it is, a version of Network will be created to inhabit the entire house that is the project space and artists’ live-work space and extend out into the garden.
Visualizing the idea that we simultaneously live in a real and virtual world, and that the virtual is infinitely expansive, Network uses large quantities of electric yellow twine (tied in patterns based on both social network structures and Internet network infrastructure) to suggest a virtual network landscape cutting through an otherwise ordinary space.
Artists/curators/residents Tom Burtonwood and Holly Holmes will also live with the work in their home for a month, negotiating their routines around it. A series of photographs will document their activity for the project catalog.
Sara Schnadt is a Chicago-based artist working in new media, installation and performance art. She has shown her in work in Chicago at Hyde Park Art Center, Pop-Up Art Loop temporary gallery series, 12×12: New Artists New Work at the MCA Chicago, Looptopia, the Site Unseen Performance Festival, Balloon Contemporary, and at Antena Gallery. National and international shows include Exchange Rate public projection series in LA and New York, Upgrade! – Chain Reaction in Skopje, Macedonia, CINEA Paris, FreeManifesta in Frankfurt, and the Busan Biennale in Busan, South Korea.
Trip to summerfolk sometime in the 1990's, sorry I can't be more specific, rmy records from last century aren't as exact as they are now. Mosst of the '1990s' images retain the names they where given back in the old days.
If you like my work click the "Follow" button on Flickr.
Other places to see my work rumimume.blogspot.ca/, Google+ google+, twitter
Christine Sciulli, Thomsens Ishus, 2013
A site specific projection by Christine Sciulli
Fjellerup, Denmark
Opening 8.8.13 19:00
Christine Sciulli has assembled images and stories from the Kattegat coast developed through talking with the local families who have been actively involved in fishing in the village for generations. Images gathered by the community were rephotographed by Sciulli and mixed with photos taken by her around the Ishus to propel a projection work that speaks to the past, present and future of the seaside town of Fjellerup through the virtual sublimation of walls of Thomsens Ishus.
A one night workshop was held for local tweens to experiment with drawing with light onto the projections.
Thomsens Ishus, site specific projection by Christine Sciulli is part of Fjellerup i Bund og Grund, an art project by Anna Lise Jensen with site-specific art projects in Fjellerup, supported by Norddjurs and made in collaboration with the townspeople and artists Norbert Francis Attard, Julia Whitney Barnes, Monica Carrier, Jo Q . Nelson and Christine Sciulli.
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Site-specific installation: Philips Hue light bulbs, Philips Hue wireless bridge, ethernet bridge, router, Raspberry Pi, open-source and custom software.
A former hairdressers on Arachovis Street forms the context for an installation of “smart” lights programmed according to statutory international working hours. Operating at fixed hours, they take into account the limits to weekly working hours, periods of rest and holiday. James Bridle employs the increasingly widespread technology of the “internet of things” to make visible the EU Working Time Directive (2003/88/EC) which was created to protect workers’ rights. When activated, the light bulbs shine continuously during working hours, go dim and change colour during overtime and non-working hours. In addition, the lights change periodically to visualise the different actual working hours around the globe.
Cheaper by the Dozen continues James Bridle’s interest in algorithmic law, the processes of automation, and the political implications of the "internet of things". By addressing the guidelines to working hours in the context of a deactivated hairdressers shop, the artist draws upon the sensitivities and prejudices inherent to national working rhythms and the gross domestic product. More specifically, Bridle took inspiration from Frank and Lillian Gilbreth, pioneers of scientific management and the study of time and motion, who measured and assessed workers’ productivity through the technique of light painting. Their theoretical heritage was fundamental to the deployment of labour practices in the 20th century, just as the implementation of often opaque political intent in software is fundamental to those of the 21st century. By inserting other social values into the software layer of contemporary labour practices, the work seeks to challenge the logic of technodeterminism and alienation deployed by late capitalism.
Photographs by Paris Tavitian.
Goudstertspeg
Manlik en vroulik, male and female
(Campethera abingoni)
The golden-tailed woodpecker (Campethera abingoni) is a species of bird in the family Picidae. Its specific name commemorates the 5th Earl of Abingdon. It belongs to a species complex that includes the Knysna woodpecker to the south of its range, and the mostly allopatric Mombasa woodpecker to the northeast, with which it perhaps hybridizes.
The combination of barred, greenish upper part plumage, and streaked underparts is distinctive. Their golden-olive tails do not differ markedly from those of several related or sympatric woodpecker species, but their single, strident call-note is characteristic.
It measures 20[3] to 21 cm from bill tip to tail tip. The southern races weigh about 70 g, but the northern race C. a. chrysura, only about 55 g. Males are on average larger and heavier than females. The sexes are best distinguished by their head markings, as the red and brown fore-crowns of males differ unmistakably from those of females that are black and spotted white. The malar stripes of males are red and that of females mottled black and white. The iris is usually dark red but variable, the mandibles slate grey, and the legs and feet greenish-olive. Juveniles are heavily streaked on the throat and breast and barred on the belly. They and have mottled malar stripes, and a brown to brownish-grey iris.
There are 6 to 7 accepted races. C. a. chrysura (Swainson, 1837) occurs from Senegambia to western Uganda. It is quite green above, has streaked ear coverts and is smaller in size than either C. a. suahelica or C. a. abingoni, without overlap. The tropical race C. a. kavirondensis van Someren, 1926 is olive-green above and more broadly barred, with thinner streaking below. C. a. suahelica (Reichenow, 1902) which occurs from the Kilimanjaro region to northern Swaziland, is similar to the former but has a yellower toned upper parts. The nominate race is widespread in arid and mesic woodlands of southern Africa, and has denser throat streaking than C. a. suahelica. C. a. anderssoni (Roberts, 1936) occurs from southwestern Angola to northwestern South Africa. It has very dense throat and breast streaking, locally verging on solid black. C. a. constricta Clancey, 1965 which occurs from southern Mozambique to KwaZulu-Natal, is smaller than the nominate race, and has the upper part plumage greener and under part plumage more yellowish.
Wikipedia
I'm starting to purchase some relatively expensive gemstones. I wanted to know how I could be sure of what I was purchasing when there are some misleading trade names and vendors that may not ask as many questions of their supplier as they should.
Calculating the specific gravity of your new sparklies is a good method and can be done fairly inexpensively.
blog.autochthonous-evolved.com/2013/04/making-sure-your-g...
Europa: Pasajes de Invierno es una instalación site specific de Florentino Díaz comisariada por Carlota Álvarez Basso para el programa de intervenciones Abierto x Obras, en la antigua cámara frigorífica de lo que fue el matadero municipal. La pieza se inscribe además en la programación de PhotoEspaña 2015.
La pieza conformada a partir de materiales de derribo, representa un barracón sobre el que no cesa de caer la lluvia. En su interior, pantallas de video nos muestran las imágenes de vidas anónimas del siglo XX, recogidas de álbumes encontrados en mercadillos, con el Winterreise (Viaje de invierno) de Schubert sonando de fondo. Según la comisaria Carlota Álvarez Basso, son “historias que hablan de los momentos de felicidad ajena que han caído en el olvido, de la fragilidad de nuestra existencia y de la inconsistencia de la memoria, tanto de la individual como de la colectiva”.
“El espectador debe recorrer estos pasajes de invierno a través de estos videos en los que, paradójicamente, no cabe imaginar el trágico destino que aguarda a sus protagonistas, y que nos hacen pensar en el incierto destino que nos espera” señala Florentino Díaz. Respecto al título, Díaz se inspira en El Libro de los Pasajes, el gran proyecto inacabado de Walter Benjamin, fallecido en 1940, que “cuestiona el desarrollo de una historia que hasta ese momento no había cumplido las expectativas de liberación humana, y que en sus ruinas mostraba la imposibilidad de alcanzar sus metas últimas”, explica el artista.
Las obras de Florentino Díaz (Cáceres - 1954) se caracterizan, desde los años 1990, por el uso de materiales e imágenes recuperadas, elementos aparentemente sencillos pero cargados de sentido y de connotación emocional. Desde hace muchos años Florentino Díaz ha ido guardando pequeños tesoros encontrados en el Rastro de Madrid o de las ciudades que visitaba en sus viajes. Objetos, libros, fotografías que a veces nos desvelan y otras se guardan los secretos de vidas e historias de otro tiempo. El artista es además un referente cuyo trabajo ha girado siempre en torno al concepto de lo doméstico, de la casa, concebida como un espacio cada vez más difícil de habitar. Sus instalaciones se han expuesto en centros nacionales e internacionales, como el CAB DE Burgos, MEIAC de Badajoz, Museo Barjola de Gijón, Casal Solleriç Espai 4 de Mallorca, Museo de Cáceres, Salón de los 16, Kunstamt Kreuzberg-Bethanien de Berlín, y en ferias como Art Cologne, MACO-MEXICO, Liste The Young Art Fair de Basel, Art Chicago, Busan Bienal de Corea. Y forma parte de colecciones privadas, museos e instituciones como CGAC de A Coruña, Colección La Caixa, Fundación Coca-Cola España, Colección Banco de España, Museo de Cáceres, entre otras.
Abierto x Obras
Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que incentiva el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero. Desde 2007 Abierto x Obras ha acogido las intervenciones de artistas como Daniel Canogar, Jannis Kounnellis, Román Signer, Carlos Garaicoa, Fernando Sánchez Castillo, Jordi Colomer, Los Carpinteros, Cristina Lucas, o Eugenio Ampudia, entre otros. Próximamente se podrá disfrutar del trabajo del artista británico Haroon Mirza.
A gigantic dragon, one of the site-specific art installations at Alcatraz, by the Chinese artist Ai Waiwai in his tireless campaigning for freedom of expression.
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SPECIFIC is an Innovation and Knowledge Centre. It aims to develop coated glass and steel products that capture, store and release solar energy, turning buildings into power stations. The centre brings together world class academic and industrial expertise in the fields of photovoltaics, solar thermal, batteries, chemical conversion and wide area lighting, alongside unique sheet and coil printing and coating facilities.
SPECIFIC is led by Swansea University in partnership with industrial partners Tata Steel, BASF and NSG Pilkington and research partners Imperial College London, Cardiff University, Bath University, Bangor University and Sheffield University; it is funded by EPSRC, Technology Strategy Board and the Welsh Government.
SPECIFIC's aim is to transform world-class research and innovative technology into a new, £1billion industry.
My Logo started with a tetrahedron in 2013. evolved into a merkaba in 2015.
In Egyptian, Mer means a Counter Rotating Field of Light.
Ka means Spirit.
Ba means Body.
it all happenened natuarally in the flow of creation.
Before Math as we know it is Sacred Geometry, which encapsulates life itself.
I was attracted to electronic toys as a child.
I disassembled them to understand them, and put them back together.
Math was the only class besides sports in which I had fun and where everything felt natural.
I made my own electric circuits during the weekend in Junior High.
I started writing code to create shapes at 12 years old.
It’s something that came naturally.
I was a science major in high school without trying to be one.
I’m don’t consider myself a mathmatician but someone with a love for the art.
Sacred Geometry makes Mathematical relationships visual and intuitively natural to understand.
The 2 triangular shapes are tetrahedrons.
When together in opposite directions, create what is called a ‘Merkaba’ or ‘Star Tetrahedron’.
The Merkaba is the basis of all biological lifeforms all across the Universe.
Enlightement is realising the interconnectivity of all that is.
It is when both sides of the brain work together as one.
I use Sacred Geometry because it represents the interconnectivity of the Universe.
We are all connected to one another, to the plants, animals, insects, the wind, water, fire, earth.
Everything in reality, that exists, manifested through the Sacred Geometry proportions.
Every single thing in creation.
Music, emotions, feelings, energy, plants, our bodies, everything is created out a unique sign
wave signatures, that when becoming physical comes out of a sacred geometry pattern.
It represents the physical life emerging out of the spiritual realm.
Crop circles which seem to be created by aliens, are pure sacred geometry.
They seem to communicate something specific based on mathematical relationships.
The Circles showing the mathematical relationships of the merkaba of my logo, represent the Seed of Life.
The Seed of Life is the center of the Flower of Life.
The Flower of Life represents all of life in the Universe.
I view the Merkabah as masculine energy due to its straight lines, and the Seed of Life represents
the feminine energy due to its circular form.
It holds the laws and proportions of everything in existence.
By Superimposing the Male Energy and the Female Energy together, we get the connection of the two.
We all have both energies within us.
When a man and a woman are in love, it creates the most powerful energy within the body.
Sacred Geometry shapes in architecture, sculptures and art have been all over the world for centuries.
The pyramids all over the world from Egypt to Central and South America are examples of this.
~ Willpower LifeForce // WILLPOWER STUDIOS
Vernacular signs— "local, site-specific, handmade or hand-crafted signage produced as a unique piece of art or a small run advertisement..."
Advertisements painted by hand directly onto the brickwork of buildings were once a common sight in cities, towns and villages across the country. The rise of printed billboards soon led to their decline but many still survive, often faded, clinging to the walls that host them. These 'Ghostsigns' provide a window into the past and evidence of the craftsmanship that once went into their production. However, they are disappearing fast, often due to weathering but also as a result of property development and demolition.
Sheridan, WY is lucky to have a good deal of these signs still remaining....
Franco Menicagli
A CHI NON PIACE GUARDARE IL CIELO?
(allestimento)
Installazione site specific per il Cortile di Palazzo Strozzi (16.10-16.11.2014)
© photo Mario Guidi
I've learned to make very specific New Years goals and resolutions because those are the only kind I can stick with. However, I did allow myself one vague resolution this year: to have more spontaneous fun.
I received a random bottle of Veuve Clicquot champagne recently and decided to bring it along to the hockey game I went to yesterday. My friend and I drank the whole bottle in the parking lot of the HP Pavilion, pre game. We even had a little plastic bottle of orange juice so we could make mimosas, and I tuned the radio in to a hip hop station.
"Mo' Money, Mo' Problems" came on while we were drinking from our tin cups. It was kind of perfect.
View on a specific site in nature reserve De Reef, on a part of the village Westzaan and (in the background) Het Westzijderveld. Image taken with kite and camera during a setting sun.
July 4, 2009. An absentminded and leisurely drive through the country with no specific destination in mind. It was hot but we stopped often to admire the beauty all around us. We ate BBQ somewhere and Blue Bell ice cream somewhere else. We laughed, we drove, we laughed more.
It was a good day and a good memory.
Rapture, Noémie Lafrance's site-specific dance performance at Bard College's Fisher Center building (Frank Gehry, architect).
Photo best viewed Large.
Europa: Pasajes de Invierno es una instalación site specific de Florentino Díaz comisariada por Carlota Álvarez Basso para el programa de intervenciones Abierto x Obras, en la antigua cámara frigorífica de lo que fue el matadero municipal. La pieza se inscribe además en la programación de PhotoEspaña 2015.
La pieza conformada a partir de materiales de derribo, representa un barracón sobre el que no cesa de caer la lluvia. En su interior, pantallas de video nos muestran las imágenes de vidas anónimas del siglo XX, recogidas de álbumes encontrados en mercadillos, con el Winterreise (Viaje de invierno) de Schubert sonando de fondo. Según la comisaria Carlota Álvarez Basso, son “historias que hablan de los momentos de felicidad ajena que han caído en el olvido, de la fragilidad de nuestra existencia y de la inconsistencia de la memoria, tanto de la individual como de la colectiva”.
“El espectador debe recorrer estos pasajes de invierno a través de estos videos en los que, paradójicamente, no cabe imaginar el trágico destino que aguarda a sus protagonistas, y que nos hacen pensar en el incierto destino que nos espera” señala Florentino Díaz. Respecto al título, Díaz se inspira en El Libro de los Pasajes, el gran proyecto inacabado de Walter Benjamin, fallecido en 1940, que “cuestiona el desarrollo de una historia que hasta ese momento no había cumplido las expectativas de liberación humana, y que en sus ruinas mostraba la imposibilidad de alcanzar sus metas últimas”, explica el artista.
Las obras de Florentino Díaz (Cáceres - 1954) se caracterizan, desde los años 1990, por el uso de materiales e imágenes recuperadas, elementos aparentemente sencillos pero cargados de sentido y de connotación emocional. Desde hace muchos años Florentino Díaz ha ido guardando pequeños tesoros encontrados en el Rastro de Madrid o de las ciudades que visitaba en sus viajes. Objetos, libros, fotografías que a veces nos desvelan y otras se guardan los secretos de vidas e historias de otro tiempo. El artista es además un referente cuyo trabajo ha girado siempre en torno al concepto de lo doméstico, de la casa, concebida como un espacio cada vez más difícil de habitar. Sus instalaciones se han expuesto en centros nacionales e internacionales, como el CAB DE Burgos, MEIAC de Badajoz, Museo Barjola de Gijón, Casal Solleriç Espai 4 de Mallorca, Museo de Cáceres, Salón de los 16, Kunstamt Kreuzberg-Bethanien de Berlín, y en ferias como Art Cologne, MACO-MEXICO, Liste The Young Art Fair de Basel, Art Chicago, Busan Bienal de Corea. Y forma parte de colecciones privadas, museos e instituciones como CGAC de A Coruña, Colección La Caixa, Fundación Coca-Cola España, Colección Banco de España, Museo de Cáceres, entre otras.
Abierto x Obras
Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que incentiva el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero. Desde 2007 Abierto x Obras ha acogido las intervenciones de artistas como Daniel Canogar, Jannis Kounnellis, Román Signer, Carlos Garaicoa, Fernando Sánchez Castillo, Jordi Colomer, Los Carpinteros, Cristina Lucas, o Eugenio Ampudia, entre otros. Próximamente se podrá disfrutar del trabajo del artista británico Haroon Mirza.
Christine Sciulli, Thomsens Ishus, 2013
A site specific projection by Christine Sciulli
Fjellerup, Denmark
Opening 8.8.13 19:00
Christine Sciulli has assembled images and stories from the Kattegat coast developed through talking with the local families who have been actively involved in fishing in the village for generations. Images gathered by the community were rephotographed by Sciulli and mixed with photos taken by her around the Ishus to propel a projection work that speaks to the past, present and future of the seaside town of Fjellerup through the virtual sublimation of walls of Thomsens Ishus.
A one night workshop was held for local tweens to experiment with drawing with light onto the projections.
Thomsens Ishus, site specific projection by Christine Sciulli is part of Fjellerup i Bund og Grund, an art project by Anna Lise Jensen with site-specific art projects in Fjellerup, supported by Norddjurs and made in collaboration with the townspeople and artists Norbert Francis Attard, Julia Whitney Barnes, Monica Carrier, Jo Q . Nelson and Christine Sciulli.
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
This specific Advanced Recon Vehicle was created for use in cold winter conditions and uses a computer controled M2 machine gun for it's only defense. Used commonly to deliver parts of Space technology to the labs where they were being built they had a Gyroscope table inside to reduce breaking and maintain stability for the items they were transporting.
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I was making an APC but decied that that was a little overdone so instead using modified Alpha Company instructions for the front and my own designs for the rest I built the ARV. I think it doesn't look so bad but I feel that it could be better. Expect to seen in a Dio soon. :>
Neuschwanstein Castle (Schloss Neuschwanstein) is a 19th-century Romanesque Revival palace on a rugged hill above the village of Hohenschwangau near Füssen in southwest Bavaria, Germany. The palace was commissioned by Ludwig II of Bavaria as a retreat and in honour of Richard Wagner. Ludwig paid for the palace out of his personal fortune and by means of extensive borrowing, rather than Bavarian public funds. The castle was intended as a home for the king, until he died in 1886. It was open to the public shortly after his death. Since then more than 61 million people have visited Neuschwanstein Castle.
Neuschwanstein welcomes almost 1.5 million visitors per year making it one of the most popular tourist destinations in Europe. For security reasons the palace can only be visited during a 35-minute guided tour, and no photography is allowed inside the castle. There are also special guided tours that focus on specific topics.
In the peak season from June until August, Neuschwanstein has as many as 6,000 visitors per day, and guests without advance reservation may have to wait several hours. Those without tickets may still walk the long driveway from the base to the top of the mountain and visit the grounds and courtyard without a ticket, but will not be admitted to the interior of the castle. Ticket sales are processed exclusively via the ticket centre in Hohenschwangau. Source: en.wikipedia.org
This specific Christmas Tree is special but not because of decoration or presentation but as a symbol of being unbreakable. Even in this hard time a small tree reminds that they can't take holiday from us.
Christmas Tree is decorated with white doves with flags of the allies and blue and yellow bulbs. Nothing extra but very symbolic.
No one specific thing happens; everything is just kind of in a state of constant happening. Sure, there's the Day you come out to your family, or leave your partner, or confront an abuser, and those are big days. But so are the days where you decide that you need to do those things. And so are the days when you acknowledge the truths of these ideas for the first time. And the days when you hear someone say for the first time, you know, I've done that, that thing you're afraid to do, and I'm fine. Life never really feels like discrete moments, it just becomes those when we tell our stories and want to leave out the parts where we stalled or failed or chickened out. - Margaret Lyons
On Friday I had a day where I decided I needed to do something. I've known for years that I needed to do it, but every time I've tried I haven't been ready. I've had a lot of set backs, but I'm seeing a friend on Saturday and I told her that when I next saw her I'd have taken a step forward.
The above quotation resonates with me and where I am in my life right now. I'm absolutely terrified, but also ashamed and disappointed that I'm in this position. & the ridiculous thing is, I know I shouldn't be. I know if anyone else was in this position I'd tell them there was nothing to be afraid of, that only a monster could judge them for making this decision. & then I have people messaging me on one of my blogs telling me how wonderful my life sounds, how they wish they had the same opportunities as me. & I know that what they're saying is true: I do have a wonderful life. I do have amazing opportunities. I'm just not in a position to full enjoy and experience them right now.
Sometimes I look back at my flickr and I see this 17 year old girl and I think that she was so brave. All the things going on that she survived, all the things she never once mentioned on here. & I wish I had her courage, because I don't right now & I really need it.
Sometimes I think I should be ashamed of the person I was when I used to post on here, but I'm not. Looking back, I needed the support flickr gave me. I needed the space to vent and be angry and selfish. The photos gave me a way to deal with how uncomfortable I was in my own skin. I look at the photos and I don't see the ugly girl people used to tell me I was. I'm so glad I have those photos because they speak a truth I might otherwise have forgotten. I wish I could tell her she wasn't as ugly as she thought. I wish I could tell her she was pretty and brave and smart.
I wish I had her confidence and courage, because I'm a mess right now.
I'm going to take this step forward and hopefully it will help me reach a place where I can be as brave as I once was.
I hope 2015 is the year I stop fighting myself.
With a specific point of attraction, this African Uganda Lady is looking with a calm eye to something interesting in the middle of the grass and water tank in the background complementing to her resting mood.
How the nature of Uganda can make you feel at home no matter where you come from.
Would you like a take a shortcut to a specific Snowman?
01. A Partridge in a Pear Tree (Donna Newman) | 02. Two Turtle Doves (Laura-Kate Chapman) | 03. Three French Hens (Jessica Perrin) | 04. Four Calling Birds (Mik Richardson) | 05. Five Gold Rings (Adam Pekr) | 06. Six Geese a Laying (Donna Newman) | 07. Seven Swans Swimming (RP Roberts) | 08. Eight Maids Milking (Megan Heather Evans) | 09. Nine Ladies Dancing (Jenny Leonard) | 10. Lords Leaping (Sally Adams) | 11. Eleven Pipers Piping (Amanda Quellin) | 12. Twelve Drummers Drumming (Sue Guthrie)
Europa: Pasajes de Invierno es una instalación site specific de Florentino Díaz comisariada por Carlota Álvarez Basso para el programa de intervenciones Abierto x Obras, en la antigua cámara frigorífica de lo que fue el matadero municipal. La pieza se inscribe además en la programación de PhotoEspaña 2015.
La pieza conformada a partir de materiales de derribo, representa un barracón sobre el que no cesa de caer la lluvia. En su interior, pantallas de video nos muestran las imágenes de vidas anónimas del siglo XX, recogidas de álbumes encontrados en mercadillos, con el Winterreise (Viaje de invierno) de Schubert sonando de fondo. Según la comisaria Carlota Álvarez Basso, son “historias que hablan de los momentos de felicidad ajena que han caído en el olvido, de la fragilidad de nuestra existencia y de la inconsistencia de la memoria, tanto de la individual como de la colectiva”.
“El espectador debe recorrer estos pasajes de invierno a través de estos videos en los que, paradójicamente, no cabe imaginar el trágico destino que aguarda a sus protagonistas, y que nos hacen pensar en el incierto destino que nos espera” señala Florentino Díaz. Respecto al título, Díaz se inspira en El Libro de los Pasajes, el gran proyecto inacabado de Walter Benjamin, fallecido en 1940, que “cuestiona el desarrollo de una historia que hasta ese momento no había cumplido las expectativas de liberación humana, y que en sus ruinas mostraba la imposibilidad de alcanzar sus metas últimas”, explica el artista.
Las obras de Florentino Díaz (Cáceres - 1954) se caracterizan, desde los años 1990, por el uso de materiales e imágenes recuperadas, elementos aparentemente sencillos pero cargados de sentido y de connotación emocional. Desde hace muchos años Florentino Díaz ha ido guardando pequeños tesoros encontrados en el Rastro de Madrid o de las ciudades que visitaba en sus viajes. Objetos, libros, fotografías que a veces nos desvelan y otras se guardan los secretos de vidas e historias de otro tiempo. El artista es además un referente cuyo trabajo ha girado siempre en torno al concepto de lo doméstico, de la casa, concebida como un espacio cada vez más difícil de habitar. Sus instalaciones se han expuesto en centros nacionales e internacionales, como el CAB DE Burgos, MEIAC de Badajoz, Museo Barjola de Gijón, Casal Solleriç Espai 4 de Mallorca, Museo de Cáceres, Salón de los 16, Kunstamt Kreuzberg-Bethanien de Berlín, y en ferias como Art Cologne, MACO-MEXICO, Liste The Young Art Fair de Basel, Art Chicago, Busan Bienal de Corea. Y forma parte de colecciones privadas, museos e instituciones como CGAC de A Coruña, Colección La Caixa, Fundación Coca-Cola España, Colección Banco de España, Museo de Cáceres, entre otras.
Abierto x Obras
Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que incentiva el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero. Desde 2007 Abierto x Obras ha acogido las intervenciones de artistas como Daniel Canogar, Jannis Kounnellis, Román Signer, Carlos Garaicoa, Fernando Sánchez Castillo, Jordi Colomer, Los Carpinteros, Cristina Lucas, o Eugenio Ampudia, entre otros. Próximamente se podrá disfrutar del trabajo del artista británico Haroon Mirza.
In the 19th century, specific buildings for entertainment appeared in many cities, including stone circuses. Ghent also joined this international trend. In 1894, the so-called "Nieuw Cirkus" was built, designed by architect Emile De Weerdt .and was eventually inaugurated as a stone circus, where numerous companies gave performances, also during the winter.
Shortly after World War II, the Winter Circus was transformed into Ghislain Mahy's garage. In this transformation, the entire circus interior was lost. In its place came a completely new concrete structure with an elaborate system of ramps that allowed cars to drive all the way to the top. In 1978, the garage closed its doors and the building continued to serve as a depot for vintage cars for two more decades. After that, the building stood virtually empty.
n order of the City, sogent purchased the historically valuable building in 2005 with the intention of renovating and repurposing it with respect for its rich heritage value.
Monumento de Vento, 2016.
50 peças de tecido e aro de madeira, dimensões variadas.
Trabalho instalado nos arcos do Museu de Arte de Londrina, aproximadamente 600 m2.
Márcio Diegues
Little specific information about "Silver Galaxy Granite" from India is available. It has a foliated texture, so it is a metamorphic rock - it appears to be a gneiss. The dark red spots near the bottom are very likely garnets. The matrix includes a sparkly component - likely mica.
I've seen this material attributed to Andhra Pradesh State (= southern Indian) and Rajasthan State (= northwestern India). Verified quarry location info. is lacking.
Europa: Pasajes de Invierno es una instalación site specific de Florentino Díaz comisariada por Carlota Álvarez Basso para el programa de intervenciones Abierto x Obras, en la antigua cámara frigorífica de lo que fue el matadero municipal. La pieza se inscribe además en la programación de PhotoEspaña 2015.
La pieza conformada a partir de materiales de derribo, representa un barracón sobre el que no cesa de caer la lluvia. En su interior, pantallas de video nos muestran las imágenes de vidas anónimas del siglo XX, recogidas de álbumes encontrados en mercadillos, con el Winterreise (Viaje de invierno) de Schubert sonando de fondo. Según la comisaria Carlota Álvarez Basso, son “historias que hablan de los momentos de felicidad ajena que han caído en el olvido, de la fragilidad de nuestra existencia y de la inconsistencia de la memoria, tanto de la individual como de la colectiva”.
“El espectador debe recorrer estos pasajes de invierno a través de estos videos en los que, paradójicamente, no cabe imaginar el trágico destino que aguarda a sus protagonistas, y que nos hacen pensar en el incierto destino que nos espera” señala Florentino Díaz. Respecto al título, Díaz se inspira en El Libro de los Pasajes, el gran proyecto inacabado de Walter Benjamin, fallecido en 1940, que “cuestiona el desarrollo de una historia que hasta ese momento no había cumplido las expectativas de liberación humana, y que en sus ruinas mostraba la imposibilidad de alcanzar sus metas últimas”, explica el artista.
Las obras de Florentino Díaz (Cáceres - 1954) se caracterizan, desde los años 1990, por el uso de materiales e imágenes recuperadas, elementos aparentemente sencillos pero cargados de sentido y de connotación emocional. Desde hace muchos años Florentino Díaz ha ido guardando pequeños tesoros encontrados en el Rastro de Madrid o de las ciudades que visitaba en sus viajes. Objetos, libros, fotografías que a veces nos desvelan y otras se guardan los secretos de vidas e historias de otro tiempo. El artista es además un referente cuyo trabajo ha girado siempre en torno al concepto de lo doméstico, de la casa, concebida como un espacio cada vez más difícil de habitar. Sus instalaciones se han expuesto en centros nacionales e internacionales, como el CAB DE Burgos, MEIAC de Badajoz, Museo Barjola de Gijón, Casal Solleriç Espai 4 de Mallorca, Museo de Cáceres, Salón de los 16, Kunstamt Kreuzberg-Bethanien de Berlín, y en ferias como Art Cologne, MACO-MEXICO, Liste The Young Art Fair de Basel, Art Chicago, Busan Bienal de Corea. Y forma parte de colecciones privadas, museos e instituciones como CGAC de A Coruña, Colección La Caixa, Fundación Coca-Cola España, Colección Banco de España, Museo de Cáceres, entre otras.
Abierto x Obras
Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que incentiva el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero. Desde 2007 Abierto x Obras ha acogido las intervenciones de artistas como Daniel Canogar, Jannis Kounnellis, Román Signer, Carlos Garaicoa, Fernando Sánchez Castillo, Jordi Colomer, Los Carpinteros, Cristina Lucas, o Eugenio Ampudia, entre otros. Próximamente se podrá disfrutar del trabajo del artista británico Haroon Mirza.
Big Sur is a sparsely populated region of the central California coast where the Santa Lucia Mountains rise abruptly from the Pacific Ocean. The name "Big Sur" is derived from the original Spanish-language "el sur grande", meaning "the big south", or from "el país grande del sur", "the big country of the south". The terrain offers stunning views, making Big Sur a popular tourist destination. Big Sur's Cone Peak is the highest coastal mountain in the contiguous 48 states, ascending nearly a mile (5,155 feet/1571 m) above sea level, only three miles (4.8 km) from the ocean.[1]
Although Big Sur has no specific boundaries, many definitions of the area include the 90 miles (140 km) of coastline between the Carmel River and San Carpoforo Creek, and extend about 20 miles (32 km) inland to the eastern foothills of the Santa Lucias. Other sources limit the eastern border to the coastal flanks of these mountains, only three to 12 miles (19 km) inland.
The northern end of Big Sur is about 120 miles (190 km) south of San Francisco, and the southern end is approximately 245 miles (394 km) northwest of Los Angeles.
Images for *Living with geeks*
'... This week, I transferred my blog to Wordpress; your pizza/Linux photo is a great image which I posted as the masthead for the site (with attribution cited in the blogroll). Are you amenable to the photo being used like this? It fits well with my project's treatment & the stories which the interviews yield --- see it here: http://livingwithgeeks.wordpress.com/ ...' (Jill M Foster)
Hi Jill, thanks for asking permission and complying (sort-of) with the CC licensing the image, 2006JUL021140 is released under. The type of Creative Commons license I've released all the flickr images under require:
* Attribution (let others copy, distribute, display, and perform your copyrighted work — and derivative works based upon it — but only if they give credit the way you request.).
* Non Commercial (let others copy, distribute, display, and perform your work — and derivative works based upon it — but for noncommercial purposes only)
* Non Derivative (let others copy, distribute, display, and perform only verbatim copies of your work, not derivative works based upon it.)
Checklist
* I've seen the attribution & without specific instructions from me, this is fine. Simple link back to the original image with attrribution.
* The non commercial bit is pretty simple & I'll take the most lenient interpretation on this because one image, does not a commercial enterprise make. I'll digress here for a bit.
marketing 101
Software is my main vocation. Writing, drawing, images & photos are just ways to get others to notice the first bit. So unless your entering the original or derivative and making bucket loads of cash I'll be lenient in my definition of what is commercial. To get an idea take a look at the site, gapingvoid and look at how Hugh MacLeod uses his images, in this case cartoons to market his sites without charging for them. It makes no sense to charge for the images, but at the same time you don't want others to commercially exploit them for pure commercial gain.
The reaon I've added the non-commercial license is to stop image trawling companies grabbing a few images from lots of people & re-selling access, associated adverts etc.
* The non - derivative bit is one area where you have stumbled. The license I've chose prohibits this particular practice. But given the rip-mix-burn idiom is really one of the reasons the Creative Commons license was devised (ie: the ability to grab something, with attribution and build something else maybe for you it is too prohibitive.
Propose
So I grant for you (Jill Foster of Living with Geeks) , a re-license the image with the following restrictions or relaxations on my normal license. This means you don't have to change anything on your current page & can use it as is. I'll send this text in an email at some time to confirm it with you (as per your email sent 'your photo + interviewing for my documentary').
I grant Jill Foster of Living with Geeks (and only Jill Foster) the following license for this image.
* Attribution You must attribute the work in the manner specified by the author or licensor.
* Non Commercial You may not use this work for commercial purposes.
* Share Alike If you alter, transform, or build upon this work, you may distribute the resulting work only under a license identical to this one.
You can find a human readable explanation here and a legal definition here. The license has been modified to comply with Australian law meaning it is recognised under copyright law in Australia.
One very, very specific thing made me want to go back and rewatch all of The Newsroom on HBO. Stephen Amell. That dude from Arrow, in case you don't know. He was talking about Aaron Sorkin in a Facebook Q&A and basically said he liked the show. It made me reexamine my thoughts and feelings on it and I re-watched all 3 seasons (25 episodes). And because of the news climate we live in today, I am sad to see it go. Because now, having watched The Newsroom, I think I get what it was actually trying to do.
When it first aired, I watched it along with everyone else. I loved The Social Network and I thought the idea of Sorkin dialogue being placed on the HBO framework for several hour long episodes would be utterly fantastic. And I loved the show at first. I loved the 1st and 2nd episode of season 1, then things got a bit shaky for me. Admittedly, I had the same complaints a lot of other people had. "Ah, you're just using hindsight to your advantage and cheating!" And now, while I don't completely disagree with that, I get what the show was really ultimately doing. It was showing us simply how things should be. That's all. Not showing off, but, re-doing certain things and certain events that occurred during the last few years. Sorkin says he chose to do the show like this because he wanted the audience to know more than the characters do. Which is fine, but for me, the show has meant more because it is frankly redoing so many instances of bad journalism. The 1st season of The Newsroom was particularly cheesy and overly sentimental...there was a bit too much of that going on.
And some of the biggest problems of the 1st season lie with the characters. Jim, Don, Maggie, Mack - it's almost like the st season of Agents of S.H.I.E.L.D. - only because I was recently watching both seasons of that show. But I was not at all feeling the romances here. Don and Maggie, Maggie and Jim, Jim and whatsherface, Will and Mack - all horrifyingly cheesy and shlocky. These people just kept making dumb decisions and getting mad about nothing, things that they could easily fix, it drove me insane, no one communicates. Once we got passed all of this, and into the 2nd season, this is where we finally got some character flaws and complexities. For example, with Maggie. Throwing her into the situation she was placed in was such a smart, necessary move and ultimately resulted in her being one of the characters who was one of the most emotionally satisfying to watch grow and evolve. There was some criticism of sexism and that Sorkin does not know how to write for women (which is sadly true for the 1st season), but the writing does get better in the 2nd and 3rd. Mackenzie with her weird characterizations, swooning over Will and overreacting at the women he casually went out on dates with. Yuck. Terrible. Hated it.
I was glad to see that most of that nonsense was gone in the 2nd season, or at least seriously toned down. Things got much more complicated and, satisfying on an artist level. Things weren't so black and white. Seeing Jim go on that campaign trail and report from the Mitt Romney bus was excellent. And equally frustrating with how those assholes acted. See, this is where I don't buy what Sorkin says. There is A LOT of conservative bashing on this show, gloriously so. And a lot of the time, it feels like the writers taking some of those old news stories and doing them in a more dignified way, emulating a desire to have our real life media be how this fictional media news channel is. Right now, with #blacklivesmatter, and how the media is horribly mishandling coverage of tragic events that went on in Ferguson and in Baltimore...it makes me wish the show was still on the air.
Thanks, Stephen Amell. smj12.com/the-newsroom/