View allAll Photos Tagged synthesis
Synthesis of Hydroxyapatite Coatings on Calcite: Developing a Coating to Protect Marble from Damage in Acid Rain
“Synthesis of Lactate Racemase Model Complex to Investigate Catalytic Hydride Transfer Capability” – Janna Berman; Dr. Benjamin R.J. Mueller (Vanderbilt University) and Dr. Nathan
D. Schley (Vanderbilt University), University of Puget Sound
Michelle's work in clay is informed and inspired by plant and botanical forms, in particular that part of our environment that is hidden from view or perhaps ignored.
She seeks to illuminate this world in her ceramic sculptures and to take a snapshot of a moment in a plants life and make it accessible to all. In exploring these concepts - clay with its amazing vigour, vitality and fluidity gives her the freedom to create wonderful textures, colours and forms. Michelle is especially inspired when working on large site-specific outdoor projects and she often designs her sculptures for installation in water. She has been involved in a number of large-scale Public Art projects in recent years.
Two nine-metre telescopes (of seven) in the DRAO Synthesis Telescope - using interferometry to create a virtual, larger telescope to look at clouds of hydrogen in the Milky Way and beyond.
Through a unique synthesis of punk and folk, soul and hardcore, traditional Irish music and off-the-cuff improvisation, Ted Leo writes seamless pop songs that are pleasing to the sugar-craving ear and the intellectually curious mind. Ted recently visited Room 205 to perform inside of an ever-evolving set conceived by director Jason Farrell and set designer Tamarra Younis.
BIO
Ted Leo has carved a legacy for himself that is both heady in its political sensibility and advanced in its musicality. Both as a solo artist and with his backing band The Pharmacists, Leo's influences come from the mod revivalism of the Jam, the dubby rhythms of the Clash and the soulful meditations of Curtis Mayfield. By consistently combining his love for 60s pop and soul with an abiding mastery of 70s punk rock, Ted Leo has laid the foundation for punk and hardcore bands of the future.
COMPONENTS
Video
• YouTube: youtube.com/playlist?list=PLC4EEUwd7e4loaXdaqqCQJYNlTh3PlzC3
• Vimeo: vimeo.com/album/2233496
Photos
• Flickr: flic.kr/s/aHsjv1jQy5
Music
• SoundCloud: soundcloud.com/goincase/sets/ted-leo-at-room-205
CREDITS
Executive Producer
• Incase: goincase.com
Producer
• Arlie Carstens: disastercasual.typepad.com
Director
• Jason Farrell: jasonfarrelldesign.com
Set Designer
• Tamarra Younis: union-of-art.net
Set Design Assistant
• Rene Navarette: union-of-art.net
Audio Engineer
• Jon Gilbert: facebook.com/jonathan.gilbert.7796
Camera
• Jason Farrell: jasonfarrelldesign.com
• Erik Denno: dennoproductions.com
• James Wall: jameswalldp.com
Editor
• Jason Farrell: jasonfarrelldesign.com
Photos
• Arlie Carstens: disastercasual.typepad.com
Performing Artist
• Ted Leo: tedleo.com
Label
• Matador Records: matadorrecords.com
Room 205 Theme Song
• Cora Foxx: theheapsf.com
Today's T-shirt is a dedication to our friends in Canada, at Vancouver Coastal Health, for spending some of the time they devote to the people they serve, to help the people we serve KPLantern is a project of the Kaiser Permanente Innovation Consultancy to understand the health and health care of people who are transgender, using a human centered design/fieldwork approach.
This week is synthesis week, where I am learning from the team how field work comes together into insights.
For more about KPLantern: www.tedeytan.com/tag/kplantern
World Photowalk Day 18 July 2009, Birmingham.
Olympus Pen EE-3, Ferrania Solaris 200 at 400ASA. Ilford Ilfosol 3 1+9 15 minutes at 20C. Ferri/Bromide bleach and homebrew CD4 developer. A bit short in the colour developer, with fewer colours on the negative, and the colours are mostly from the scanner software compensating for begative that are a bit "thin"
This 1933 work depicts the impact of the Great Depression in New York City. It was also one of the paintings slashed by Neel's lover Kenneth Doolittle in December 1934 during a violent outburst. It was later repaired, but hundreds of Neel's other drawings and watercolors were destroyed in Doolittle's attack.
Through a unique synthesis of punk and folk, soul and hardcore, traditional Irish music and off-the-cuff improvisation, Ted Leo writes seamless pop songs that are pleasing to the sugar-craving ear and the intellectually curious mind. Ted recently visited Room 205 to perform inside of an ever-evolving set conceived by director Jason Farrell and set designer Tamarra Younis.
BIO
Ted Leo has carved a legacy for himself that is both heady in its political sensibility and advanced in its musicality. Both as a solo artist and with his backing band The Pharmacists, Leo's influences come from the mod revivalism of the Jam, the dubby rhythms of the Clash and the soulful meditations of Curtis Mayfield. By consistently combining his love for 60s pop and soul with an abiding mastery of 70s punk rock, Ted Leo has laid the foundation for punk and hardcore bands of the future.
COMPONENTS
Video
• YouTube: youtube.com/playlist?list=PLC4EEUwd7e4loaXdaqqCQJYNlTh3PlzC3
• Vimeo: vimeo.com/album/2233496
Photos
• Flickr: flic.kr/s/aHsjv1jQy5
Music
• SoundCloud: soundcloud.com/goincase/sets/ted-leo-at-room-205
CREDITS
Executive Producer
• Incase: goincase.com
Producer
• Arlie Carstens: disastercasual.typepad.com
Director
• Jason Farrell: jasonfarrelldesign.com
Set Designer
• Tamarra Younis: union-of-art.net
Set Design Assistant
• Rene Navarette: union-of-art.net
Audio Engineer
• Jon Gilbert: facebook.com/jonathan.gilbert.7796
Camera
• Jason Farrell: jasonfarrelldesign.com
• Erik Denno: dennoproductions.com
• James Wall: jameswalldp.com
Editor
• Jason Farrell: jasonfarrelldesign.com
Photos
• Arlie Carstens: disastercasual.typepad.com
Performing Artist
• Ted Leo: tedleo.com
Label
• Matador Records: matadorrecords.com
Room 205 Theme Song
• Cora Foxx: theheapsf.com
Evanescence performing live at The Greek in Los Angeles, California, on Sunday, October 15, 2017. Part of their Synthesis Live tour.
Evanescence - Amy Lee
Synthesis with Orchestra 2018
Le Grand Rex, Paris, France | 28/03/2018
Live report soon on MusicWaves
Philippe Bareille
Evanescence at the SEC Armadillo Glasgow on their Synthesis Live tour.
Thanks to Uber Rock for arranging the pass for me.
Brigham Young University Big Band "Synthesis" at their free outdoor concert in Oslo on July 5th, 2010. It was a great concert. Lots of good tunes and some really respectable solos.
Detail of the enormous tapestry designed by Graham Sutherland adorns the end wall beyond the altar, forming the focal point and climax of tnhe interior.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Bio-Synthesis has provided Custom antibody Synthesis, Polyclonal Antibody, Phosphospecific Antibody, Anti DNA Antibody, Antibody Diagnostics, Heterophile Antibody and Antibody Structure.
24-5291 Fly Synthesis Storch S500 c/n 432-376A. The Fly Synthesis Storch is an Italian ultralight aircraft, designed and produced by Fly Synthesis, introduced in 1990. The aircraft is supplied as a complete ready-to-fly-aircraft - Australian International Airshow 10-15 March 2009. File: 24-5291_YMAV_20090315_6283
Through a unique synthesis of punk and folk, soul and hardcore, traditional Irish music and off-the-cuff improvisation, Ted Leo writes seamless pop songs that are pleasing to the sugar-craving ear and the intellectually curious mind. Ted recently visited Room 205 to perform inside of an ever-evolving set conceived by director Jason Farrell and set designer Tamarra Younis.
BIO
Ted Leo has carved a legacy for himself that is both heady in its political sensibility and advanced in its musicality. Both as a solo artist and with his backing band The Pharmacists, Leo's influences come from the mod revivalism of the Jam, the dubby rhythms of the Clash and the soulful meditations of Curtis Mayfield. By consistently combining his love for 60s pop and soul with an abiding mastery of 70s punk rock, Ted Leo has laid the foundation for punk and hardcore bands of the future.
COMPONENTS
Video
• YouTube: youtube.com/playlist?list=PLC4EEUwd7e4loaXdaqqCQJYNlTh3PlzC3
• Vimeo: vimeo.com/album/2233496
Photos
• Flickr: flic.kr/s/aHsjv1jQy5
Music
• SoundCloud: soundcloud.com/goincase/sets/ted-leo-at-room-205
CREDITS
Executive Producer
• Incase: goincase.com
Producer
• Arlie Carstens: disastercasual.typepad.com
Director
• Jason Farrell: jasonfarrelldesign.com
Set Designer
• Tamarra Younis: union-of-art.net
Set Design Assistant
• Rene Navarette: union-of-art.net
Audio Engineer
• Jon Gilbert: facebook.com/jonathan.gilbert.7796
Camera
• Jason Farrell: jasonfarrelldesign.com
• Erik Denno: dennoproductions.com
• James Wall: jameswalldp.com
Editor
• Jason Farrell: jasonfarrelldesign.com
Photos
• Arlie Carstens: disastercasual.typepad.com
Performing Artist
• Ted Leo: tedleo.com
Label
• Matador Records: matadorrecords.com
Room 205 Theme Song
• Cora Foxx: theheapsf.com
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Chiang Mai, Thailand
John Gallery
330 Thapae
50300
I want to do to you what spring does to the sakura trees
Voglio fare con te ciò che la primavera fa con i ciliegi
Je veux faire avec toi ce que le printemps fait avec les cerisier
Quiero hacer contigo lo que la primavera hace con los cerezos
Pablo Neruda
soundcloud.com/toxi/sets/granular-synthesis
Watch in highres! Spectrum of an image to create an audio sequence of 2048 grains. See description in set & earlier tests...
24-4988 'Nellie' Fly Synthesis Storch S - Day 2 Defence Force Air Show 4-5 October 2008. File: 24-4988_YAMB_20081005_3044
Today's T-shirt is a dedication to our friends in Canada, at Vancouver Coastal Health, for spending some of the time they devote to the people they serve, to help the people we serve KPLantern is a project of the Kaiser Permanente Innovation Consultancy to understand the health and health care of people who are transgender, using a human centered design/fieldwork approach.
This week is synthesis week, where I am learning from the team how field work comes together into insights.
For more about KPLantern: www.tedeytan.com/tag/kplantern
1-7-2013 REPRO FREE
Prof Mark Ferguson, Director General, Science Foundation Ireland, Mr Michael Noonan TD and Prof Don Barry, President of the University of Limerick at the launch of Synthesis & Solid State Pharmaceutical Centre (SSPC) based at the University of Limerick.
Mr Richard Bruton TD, Minister for Jobs, Enterprise and Innovation and Mr Sean Sherlock TD, Minister for Research and Innovation announced funding, through the Department of Jobs, Enterprise and Innovation, of €30 million to support world-class research at the Synthesis & Solid State Pharmaceutical Centre (SSPC) based at the University of Limerick.
This exchequer funding is leveraging a further investment of €10 million from industry partners, to the SSPC. The Minister for Finance, Mr Michael Noonan TD and the Minister for Housing & Planning, Ms Jan O’Sullivan TD were present at the announcement. The SSPC is dedicated to supporting the pharmaceutical industry in Ireland which is responsible for over 60,000 Irish jobs and exports over €50 billion annually.
Pic Sean Curtin Photo.