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Patient Specific Computer Modeling and the Predictive Paradigm in Medicine
By Thomas J. R. Hughes, Ph.D, ICES Professor of Aerospace Engineering and Engineering Mechanics Computational and Applied Mathematics Chair III
Tuesday, Dec. 3, 2013
Over the course of two weeks in the Fall of 2010, eight Brooklyn Preparatory High School students collaborated with International Studio & Curatorial Program (ISCP) artist-in-residence Rose Nolan to create a text based Wall Work in their school. Contributing students gained insight into contemporary art practices while creating a site-specific work with Nolan along the corridors of their school. The completed wall piece is based on their collective discussions of language, visual structure and architectural space.
Including: 1 x exhibitionist gnome; 1 x victorian tile fragment (to preserve the gnome's modesty); 1 x ammonite fossil (not native to North London); 1 x block fused clear glass; 2 x block fused black glass; 1 x plaster fragment of large-scale egg and dart moulding.
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
This position is responsible for assessing, planning, implementing, evaluating and documenting all care activities in order to deliver efficient, effective and quality patient care. The RN also must demonstrate the knowledge and skills needed to provide age-appropriate care, based on the assigned unit. This includes a thorough understanding of the principles of growth and development over the life span, along with the ability to assess/interpret issues relative to an individual patient's status and age-specific needs. This position will adhere to all policies, procedures and regulations to ensure patient safety and compliance.
Temporary site specific install at Bluffs beach park. Made from cardboard, paint, salt, dye, plaster, iodine, and talus. Summer 2012.
SPECIFIC INFO: Haf Life played Santarchy at PJ's Lager House.
GENERAL INFO: Lager House, Saturday, Dec.18, 2010. Photographs by Donna Terek, 313-598-0179
Though we don’t know to the fact but our life does follow a specific scheduled lifestyle. Hygiene and cleanliness do plat a major role at the start of the day. But as per change in time and lifestyle we have often come across various options in terms of various products. Hence utilizing those products & maintaining a healthy lifestyle doesn’t completely mean just associating with a healthy appetite. But to keep yourself neat and tide also plays a vital role. But before utilizing any product we need to know the importance & key difference of the same.
Key Differences Between Organic & Normal Soap
We come across these terms of natural soaps which are available in various supermarket stores. But not matter how well it might be prescribed in the ingredients section. It still lacks various natural elements as it comprises of artificial fragrance, chemical hardeners and foaming agents. To shed certain light on the difference below are certain points which might give an idea for the same:
Organic Soaps Doesn’t Comprise of Artificial Fragrance
The reason why organic soaps smell in the most natural form is because they comprise of natural elements like essential oils. Essential oils having benefits in terms of anti-bacterial, anti-inflammatory properties & soothing properties thus making it a viable solution for skin care. On the other hand normal soaps do have artificial fragrance or other skin irritants and carcinogens which might be harmful for skin.
Organic Soaps Are Natural by Every Element
The key ingredients which come across for the development of organic soaps are natural essential oils, butter, clays and gel. Thus, not only making it nontoxic and chemical free but it also gives a healthy option for your daily body hygiene. Also organic soaps are developed in a précised and limited no. hence making giving an opportunity for the makers of give a precise effort for the same.
Key Ingredients of Organic Soaps
No matter how good the product maybe it is the ingredients that add an additional value to an organic soap making it a luxury element:
Patchouli, Cocoa butter and Lavender
Fit for royalty with the unique fragrance and benefits of patchouli, silky smooth cocoa butter and ultra-elegant lavender. Day or night, this luxurious blend makes an unforgettable impression. If you are looking out for such organic solutions for then Misty Peaks is a one stop solution for such kind of solutions.
Saffron, Kokum and Rose
Nutrient rich Saffron essential oil, anti-oxidant Kokum butter and evocative Rose aroma oil combine to form a fragrant and nourishing bar of luxurious well-being. If you are looking out for such organic solutions for then Misty Peaks is a one stop solution for such kind of solutions.
Sandalwood, Turmeric and Multani Mitti
Sandalwood essential oils calming properties combined with the healing and cleansing elements of Turmeric and Multani Mitti. If you are looking out for such organic solutions for then Misty Peaks is a one stop solution for such kind of solutions.
Lemon And Cucumber
Lemon and cucumber unite with a base of French green clay and Aloe Vera gel. A refreshing and exuberant blend that will become an essential addition to your daily morning routine. If you are looking out for such organic solutions for then Misty Peaks is a one stop solution for such kind of solutions.
This defines the difference between the quality of organic towels & regular towels. Apart from these if you are looking out for luxury soaps & bath and hand towels, then Misty Peaks is the right platform for your to find such products. They exercise the best methods is developing organic bath towels & organic bar soaps.
To know more: www.mistypeaks.in/collections/all-organic-luxury-bar-soap...
Darryn Glass #headshotmonday One the first #headshots I had taken before I knew what they really were even Still came out looking good Since then I've #learned that headshots need #specificity, to #tellastory and follow my #personalbrand. What story does this #photo tell you when you see it? #bearded #actor #story #brand #branding #darrynglass See more at ift.tt/2poWqQR May 08, 2017 at 06:18PM
Specific Instructions by Thomas Gerhardt
Ingredients:
white 8.5x11 sheet of paper
black pen or pencil
Program: (rules)
1. Start your drawing in the upper left region of your paper, with your paper in the portrait position.
2. Draw a straight line directly down (south), parallel to the edge of the paper.
3. Count down from 15 as your draw.
4. When you reach 0, make a 90 degree turn in the counter clockwise direction.
5. Start your count down over at 14, and keep drawing in this direction (east) ntill you reach 0, and make another 90 turn (towards north).
6. Repeat this process, and do not forget to minus one when you make a turn and start your count down over.
7. Stop when your count down starts at zero
Phylogenetic tree of mating-type specific and non mating-type specific pheromone receptor protein sequences.
The tree shows phylogeny amongst pheromone receptor proteins from F. velutipes (Fv), C. cinerea (Cc), L. bicolor (Lb), S. commune (Sc), P. djamor (Pd) and C. neoformans (Cn). Nodal supports with more than 70% bootstrap values are considered strongly supported and displayed in the tree. Known mating-type specific pheromone receptors are depicted in blue. Two major clades are distinguished, labeled A and B. The four non mating-type specific pheromone receptors of F. velutipes FvSte3.s1 to FvSte3.s5 (pseudogene FvSTE3.s2 was excluded) form a separate group (shaded purple) within clade B that is supported by strong branch values. The clade including FvSte3.1 and two other known mating-type specific pheromone receptors is shaded in orange. The clade that contains FvSte3.2 is shaded in yellow. Both these clades are supported by strong branch values. FvSte3.1 and FvSte3.2 group closest with SCBbr1 and SCBbr2, respectively. Clades that contain known mating-type specific pheromone receptors are strong evidence for mating-type specificity of other clade members. LbSte3.5 is a notable exception.
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
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
(HGM 945 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1401 Empress" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Cobalt" refers to a type of colored glass that Heisey produced. It is also known as "Stiegel Blue".
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Stiegel Blue: 1932-1941. Commonly called cobalt blue. Heisey's has exceptionally good color.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Taken at Orbicules Hill, Concordia, Namaqualand. This specific rock type is found only at this location and in Scandinavia. The pattern on the rocks look like the hoofs of horses. It is also only on this one specific klipkoppie ( rocky hill) in South Africa, that this occurs. None of the surrounding hills have this granite type.
Men are prohibited from ordering the Ladies' Set. Why? Do only "girly-men" eat Shrimp Katsu? And what's wrong with that anyway? I predict gender-discrimination lawsuit in this restaurant's future.
(HGM 5284 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1401 Empress" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Moongleam" refers to a type of colored glass that Heisey produced - in this case, light green.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
(HGM 4346 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1236 Eagle" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Moongleam" refers to a type of colored glass that Heisey produced - in this case, light green.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Long Expo - no photomontage
Entrance examination assignment Willem de Kooning Academie Rotterdam
Choose a person with specific hobby/profession. Make a portrait of this person. Make a photo series consisting of 3 photographs of her/his hobby/profession. Photograph the interior/exterior of the place where this person practices her/his hobby
Arboreal (detail), 2006. Collaboration with Dean Chatwin. Pine, house paint, rope, dimensions variable. Site-specific installation along the South Hobart rivulet as part of the Mountain Festival Sculpture Trail. Winner of the Hobart Water Prize for best sculpture.
As part of the Mountain Festival Sculpture Trail, Arboreal responded to the relationship between the built and natural environment around Hobart’s urban fringes. Simple wooden geometric structures, which mimic contemporary house architecture, were placed in and around the trees, rocks and terrain along the rivulet walk.
The specific idea that a room’s true beauty is in the empty space within the roof and walls came from Laozi, a philosopher and the founder of Taoism, who held to the "aesthetic ideal of emptiness", believing that the mood should be captured in the imagination, and not so heavily dictated by what is physically present. Japanese design is based strongly on craftsmanship, beauty, elaboration, and delicacy. The design of interiors is very simple but made with attention to detail and intricacy.
Impermanence is a strong theme in traditional Japanese dwellings. The size of rooms can be altered by interior sliding walls or screens, the already mentioned shōji (paper screens). Cupboards built smoothly into the wall hide futon, mattresses pulled out before going to bed, allowing more space to be available during the day.
The minimal decoration also alters seasonally, with a different calligraphy scroll hanging or new flower arrangement.
Kōdai-ji, Kyoto, 2012
Shoreham Sculpture Trail
with The London Group
and Friends. A weekend of site specific art by over 70 artists spread around the village of Shoreham, Kent.
One of the largest sculptire trails the UK has ever seen. Featuring 30 London Group members and invited artists, including many prominent UK sculptors. 76 artists will be exhibiting over 200 sculptures in 26 gardens. The astonishing diversity of the exhibits ranges from the monumental to the ephemeral with works in metal and stone, with interactive work and performance and the Trail will be particularly unusual in the number of site-specific works. The idyllic village of Shoreham Kent, a gem just on the edge of London, is a beautiful place to visit just for itself and in June the gardens of all sizes, many on the river, will be at their best - visitors couldn't wish for more perfect surroundings in which to view sculpture. Most artists will be present to meet visitors during the trail and many will be giving talks. The Trail is curated by London Group President Susan Haire.
Photo specific details to follow. For more information about student trip to India, visit here bit.ly/1ne7Z5q.
Vladimír Turner
2012
Site-specific instalace- výstava WOULD YOU LIKE TO PLAY ANOTHER GAME(4+4dny v pohybu)
Slitinový rám, lano, mosazné koncovky, dvě směrová světla
… je celosvětově známý symbol squattingu. Squatting jakožto politický akt, vedoucí k rovnoměrnějšímu rozmístění statků na realitním trhu je jednou z alternativ, jak dát městu novou tvář. U nás(V České republice) je státním aparátem brutálně potlačován a nenachází mezi širší veřejností pochopení.
Jeho podstatou není pouze obydlení opuštěných, chátrajících budov, o které se z více či méně transparentních důvodů jejich vlastník nezajímá. Squaty se ve světě stávají důležitými kulturně-sociálními centry, důležitými meetingpointy, komunitními domy a kreativitě otevřenými platformami. V těchto případech pak jedinečným způsobem formují městskou tvář, obnovují zpřetrhané sociální vazby, osvěžují okolí.
Dům opuštěného casina v Pařížské ulici je právě jedním z těchto případů zbytečně chátrajících budov. Nachází se na jedné z nejdražších ulic světa a kulisi chátrajícího casina jsou symptomatické pro dnešní dobu mizící slávy Prahy. Spíše se ukazuje její vekslácká tvář, kamuflována levným pozlátkem.
Dům bývalého casina by mohl být obydlen, či sloužit jako kulturní centrum třeba tak, jako tomu je během festivalu 4+4dny. Ne pouze na jeden týden, ale na rok, dva, nebo třeba na dobu neurčitou. Vstup do budovy by pak rozhodně nebyl lemován rudým lanem a každý by byl VIP.
Site-specific installation at 3216 Eastern Avenue by Lexie Mountain. An ode to the shell. Decades of tenancy rebuilt into a new narrative of promise and decay. Images that no longer exist. Hours of painstaking archaeology to fill in the gaps. See yourself in it. A project of UMBC's Center for Art, Design and Visual Culture in conjunction with Highlandtown Arts & Entertainment District.
(HGM 2015.7.6 G 266, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1485 Saturn" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Zircon" refers to a type of colored glass that Heisey made - in this case, greenish.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Zircon: 1936-1939. A turquoise blue-green. The last color introduced before World War II curtailed the use of color. Revamped and reintroduced later as Limelight.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Treptow. Aus der Serie „DRAF (Deutsch russisch amerikanische Freundschaft)“
Site-specific Performance und Intervention
Sowjetisches Ehrenmal im Treptower Park, Berlin 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
Wilson's Phalarope Phalaropus tricolor
Please comment with specific reasons if you have thoughts about the identification.
Dennis Paulson's "Shorebirds of North America - The Photographic Guide" is an excellent book. Page 337, Plate 90.2 of a male Wilson's Phalarope is a good match for this bird. The rusty neck color and pattern is key.
Yesterday I photographed 3 Red-necked Phalaropes, and got nice views. They have a different pattern of red on the neck that I saw well & documented. Here's a photo:
www.flickr.com/photos/58148027@N07/42049813481/in/datetaken/
[I'd had various notes here about going back and forth on this phalarope's identification. I've snipped them.]
Two days ago I went to Lateral C to try to find the White-faced Ibis pair Jeff had found. (I did. Yay!) While there I spotted a pair of Wilson's Phalaropes. I think everyone else there also got to see them. Today I went back to see if the ibises were still around. I didn't see the ibises, but did see 7 Wilson's Phalaropes.
Putting the word "photos" in your checklist for uncommon birds, as anything other than a temporary placeholder for the real thing, is LAME. It puts undo burden on eBird reviewers to guess whether your judgement is accurate, or, for problem listers, whether you're being truthful. It's drag-and-drop simple to add photos to checklists. Just do it -- IF you actually have photos, they're photos taken of the bird WHILE YOU WERE OBSERVING it, at the time and place of your eBird list entry, NOT THE PREVIOUS DAY WHEN YOU WERE NOT THERE. And make the species comments your own in shared checklists. Write what you, yourself observed. Having your checklist and companion's checklist with identical comments is not of value to you, nor to science, nor to the eBird community. It's a detriment.
Not Norbert is the guy who claims the cow pond in Nass as if it were his own. It's not Kerry's. It's Norbert Marquez's. Hence, "Not Norbert" is a good name for him -- until he comes clean, if he ever does. Not Norbert doesn't give credit, not even for county firsts, in his newspaper blips, saying that would discourage birders. Yet he vainly claims someone else's pond should be called by his own name. Wrong. Besides being contradictory, neither is right. Maybe Not Norbert's licence plate could be changed to read BRAG2XS. Or maybe his tune could change instead. Still calling it as I see it, rather than as I'd like to see it, just like species on my checklists. That seems better to me.
See Something --> Say Something: Don't enable illegal and unethical birders -- poachers. Help break their habits. Call them as you see them.
Stop pishing and using playback on rare and sensitive birds and in heavily birded areas.
Please Follow this Code and Distribute and Teach it to Others ABA Code of Birding Ethics.
La Delice Pastry Shop and Candy Store Chocolate specific on 3rd Avenue and 27th Street Kips Bay New York City - 03/30/2017 - NYC - Mystery Magic Chef outside mannequin Superchef Comicbook super hero comic book comics standee Halloween stand up store stores popup Bake Bakery Easter candy store entrance Pop n Fresh Mannequins dummy wax sculpture standees butler domestic hat uniform chocolate 2017 Mysterious
page 272 from Malcolm le Grice essay, White Cube Black Box, Generali Foundation, 1996. Reprinted in Experimental Cinema in the Digital Age book.
see item 019 in our google doc
"Digital technology is too incorporative through the abstraction of symbols, images or sounds into a common digital form and through the flexibility of its output devices to support an idea of media specificity based on any one state of the technology. Thus, if considered as a medium, not only are its physical characteristics unstable, the potential composite discourses to which it contributes are already too broad to allow any single concept of digital art"
La Delice Pastry Shop and Candy Store Chocolate specific on 3rd Avenue and 27th Street Kips Bay New York City - 03/30/2017 - NYC - Mystery Magic Chef outside mannequin Superchef Comicbook super hero comic book comics standee Halloween stand up store stores popup Bake Bakery Easter candy store entrance Pop n Fresh Mannequins dummy wax sculpture standees butler domestic hat uniform chocolate 2017 Mysterious