View allAll Photos Tagged synthesizing
We are in the midst of a DIY revolution. Commerce and culture are driven by innovation like never before. With easier access to tools, ideas are transformed into action faster. Digital artisans merge creativity with experience to develop new assets and opportunities. As a result, brands and businesses must leverage change at an entirely new pace.
Seattle is in a unique position to influence this conversation. Our thriving tech industry has always been driven by digital pioneers.
SIC 2014 will examine this evolving landscape by turning to those with firsthand experience redefining the industry. They are the Makers; thought-leaders who synthesize creative inspiration with the next big idea, and companies that successfully cultivate innovation and then translate it into commerce. What can we learn from their experience integrating new ideas? Is your brand positioned to leverage change? What are the critical new tools that you need, now?
Oil on board; 34 x 23 cm.
Spanish painter. based in madrid from 1909, he was self-taught and began by copying pictures by diego velázquez and el greco in the prado. he received support from the poet juan ramón jiménez and established links with such young poets and artists as federico garcía lorca, rafael alberti, salvador dalí and luis buñuel. in 1925, when he participated in the artistas ibéricos exhibition (madrid, casón buen retiro), his work consisted of mildly abstracted landscapes and cubist still-lifes. after several lengthy spells in paris between 1926 and 1928, where he met picasso, he held a one-man exhibition at the palacio de bibliotecas y museos in madrid (1928), his unconventional choice of material—including combinations of oils, soil and sand—scandalizing both critics and visitors. his work developed towards abstraction under the influence of joan miró and was marked also by surrealism in an effort to synthesize the iberian spirit with the avant-garde.
© 2010 Lloyd Thrap Photography for Halo Media Group
Lloyd-Thrap-Creative-Photography
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Kristof Vrancken - The Sustainist Gaze, part I
in Z33, Hasselt
Can local plant extracts be used for developing photos?
The photographer Kristof Vrancken researches “natural” methods for developing photos. He has experimented with the anthotype procedure, which uses purely natural ingredients. Anthotype originated in the application of plant colours to fabrics and objects, and the plants used in this process are of considerable historical interest. The use of most of these plant extracts has declined in the wake of advancing industrialization, and products such as natural vegetable dyes have been extensively displaced by chemically synthesized pigments. The latter are often easier and cheaper to manufacture but are deleterious to the environment. By developing photos using local plant-based colours, in particular from the flora of the location photographed, Kristof Vrancken establishes an interesting relationship between the physical landscape and the photographic image. He elicits an awareness of time, local resources and the development processes, thereby presenting a critical counterweight to the contemporary snapshot culture.
During MANUFACTUUR 3.0 Kristof Vrancken will develop a new photographic emulsion based on historical recipes and starting from Hasselt gin and local berries and flora. Referring to 18th and 19th century traditions to make homemade liquors, a new and drinkable photographic emulsion will be created, searching for a balance between image and taste.
Kristof Vrancken has invited a number of designers to participate in a micro-residence in his studio during MANUFACTUUR 3.0. The invitees include Veerle Tytgat, Jenny Stieglitz, Pablo Hannon, Andries Vanvinckenroye and Giacomo Piovan (Socialmatter)
In collaboration with Jenevermuseum Hasselt, Distillerie ’t Stookkot Hasselt
photo by Jonathan Bessemans
Subject: Osiecki, Jeanne H
Stanford University
Lockheed Missiles and Space Company
Type: Black-and-white photographs
Topic: Chemistry, Organic
Polymers
Space vehicles
Women scientists
Local number: SIA Acc. 90-105 [SIA2009-0735]
Summary: A native of Switzerland, organic chemist Jeanne Helen Osiecki (b. 1926) had received her Ph.D. from Stanford University in 1960 and began working at Lockheed Missiles and Space Co. in 1961. When this photograph was distributed, Osiecki was a researcher in Lockheed's chemistry and plastics laboratory and was synthesizing new polymers to be used in space vehicles
Cite as: Acc. 90-105 - Science Service, Records, 1920s-1970s, Smithsonian Institution Archives
Persistent URL:Link to data base record
Repository:Smithsonian Institution Archives
The Sultan Ahmed Mosque (Turkish: Sultan Ahmet Camii) is a historic mosque in Istanbul. The mosque is popularly known as the Blue Mosque for the blue tiles adorning the walls of its interior.
It was built from 1609 to 1616, during the rule of Ahmed I. Its Külliye contains a tomb of the founder, a madrasah and a hospice. The Sultan Ahmed Mosque is still popularly used as a mosque.
The Sultan Ahmed Mosque has one main dome, six minarets, and eight secondary domes. The design is the culmination of two centuries of Ottoman mosque development. It incorporates some Byzantine Christian elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour.
We are in the midst of a DIY revolution. Commerce and culture are driven by innovation like never before. With easier access to tools, ideas are transformed into action faster. Digital artisans merge creativity with experience to develop new assets and opportunities. As a result, brands and businesses must leverage change at an entirely new pace.
Seattle is in a unique position to influence this conversation. Our thriving tech industry has always been driven by digital pioneers.
SIC 2014 will examine this evolving landscape by turning to those with firsthand experience redefining the industry. They are the Makers; thought-leaders who synthesize creative inspiration with the next big idea, and companies that successfully cultivate innovation and then translate it into commerce. What can we learn from their experience integrating new ideas? Is your brand positioned to leverage change? What are the critical new tools that you need, now?
Frederic Edwin Church American 1826-1900
Heart of the Andes , 1859
Oil on canvas
Inspired by the writings of the German naturalist Alexander von Humbodlt ( 1769-1859), Church traveled to South America in 1853 and 1857. Heart of the Andes was synthesized from scores of pencil and oil sketches Church made in Ecuador and represents the full climatic range—from tropical to temperate to fridgid—Humbodlt had observed there a half century earlier. The painting’s original presentation accommodated both its wondrous botanical detail and its continental sweep: Church displayed it in a massive windowlike frame ( now lost) and advised visitors to view it through opera glasses, the better to share the artist’s adventure. It now appears in a frame designed by Church for another painting.
Bequest of Margaret E. Dows, 1909
09.95
From the placard: Metropolitan Museum of Art
High energy physics is challenged by unresolved mysteries—from missing particles predicted by the standard model to the 95% of the missing mass in the universe. To fulfill these missions, particle accelerators rely on continuously increasing acceleration gradients, now beyond the actual technology.
The Department of Energy’s Office of High Energy Physics recently awarded Argonne $3.3 million to improve the performance of superconducting radio frequency (SRF) cavities. The uniqueness of Argonne’s approach is to combine a recent synthesis technique, which combines atomic layer deposition with an original solution to improve and/or cure radio frequency niobium cavities: a multilayer structure composed of superconducting-insulating films synthesized on the inside walls of the cavity. This effort is being developed in close collaboration between Argonne’s High Energy Physics, Energy Systems and Materials Science divisions, as well as Jefferson Lab, Fermilab, Illinois Institute of Technology, and several other universities.
Image courtesy Argonne National Laboratory.
At the levels of proficiency, a software developer will be either a programmer or an analyst, but not both. To attain the higher levels, both aspects must be synthesized and subjective ones like in organization, discipline, and general design skills.To know more visit chrismauzy.wordpress.com/
Visit us at: www.redlinextremeracing.com/
Enter to win a TEAM REDLINE XTREME VIP 500 experience of a lifetime: www.vpxsports.com/contest-giveaway/redline-xtreme-racing-...
Visit us at www.vpxsports.com
Shop at shop.vpxsports.com
The NIH supports a broad portfolio of research on cannabinoids and the endocannabinoid system. This research portfolio includes some studies utilizing the whole marijuana plant (Cannabis sativa), but most studies focus on individual cannabinoid compounds. Individual cannabinoid chemicals may be isolated and purified from the marijuana plant or synthesized in the laboratory, or they may be naturally occurring (endogenous) cannabinoids found in the body.
For more information on marijuana research, check out our website at: www.drugabuse.gov/drugs-abuse/marijuana/nih-research-mari...
Craig.
Wonderfully weird in all its eccentricity. Superb costumes and outfits .
Steampunk fashion has no set guidelines but tends to synthesize modern styles with influences from the Victorian era. Such influences may include bustles, corsets, gowns, and petticoats; suits with waistcoats, coats, top hats[74] and bowler hats (themselves originating in 1850 England), tailcoats and spats; or military-inspired garments. Steampunk-influenced outfits are usually accented with several technological and "period" accessories: timepieces, parasols, flying/driving goggles,[75] and ray guns. Modern accessories like cell phones or music players can be found in steampunk outfits, after being modified to give them the appearance of Victorian-era objects. Post-apocalyptic elements, such as gas masks, ragged clothing, and tribal motifs, can also be included. Aspects of steampunk fashion have been anticipated by mainstream high fashion, the Lolita and aristocrat styles, neo-Victorianism, and the Romantic Goth subculture.[24][76][77]
Trachybasalt in the Pleistocene of California, USA.
The best localities on Earth for seeing excellent columnar jointing are Giants Causeway (Ireland), Devils Tower (Wyoming, USA), and Devils Postpile (California, USA) (see above). Columnar jointing forms as a lava flow cools and contracts, resulting in the development of shrinkage cracks. As shrinkage cracks grow, they branch at ~120º angles (as seen in map view). Crack networks merge with other networks to form columns having a polygonal cross-section shape. Most columns are hexagonal or pentagonal in shape. A few are 3-sided, 4-sided, or 7-sided.
Devils Postpile is a trachybasalt (or basaltic trachyandesite) lava flow with extremely well-developed columnar jointing. Erosion has toppled many of the columns into a large pile at the base of the flow. The flow represents part of the activity of the Long Valley Volcano, which is now a large caldera in the eastern Sierra Nevada Mountains of California. The Devils Postpile lava flow erupted outside the southwestern margin of the Long Valley Caldera.
Stratigraphy: Postpile Flow, Upper Pleistocene, 82 ka
Locality: Devils Postpile National Monument, west of town of Mammoth Lakes, eastern California, USA
---------------
Info. synthesized from:
Huber et al. (2001) - The Story of Devils Postpile, a Land of Volcanic Fire, Glacial Ice and an Ancient River, Updated from the Original Edition.
Bailey (2004) - United States Geological Survey Professional Paper 1692.
Mahood et al. (2010) - Geological Society of America Bulletin 122: 396-407.
Steampunk
Steampunk fashion has no set guidelines but tends to synthesize modern styles with influences from the Victorian era. This may include bustles, corsets, gowns, and petticoats; suits with waistcoats, coats, top hats, tailcoats and spats; or military-inspired garments. Steampunk-influenced outfits are usually accented with several technological and "period" accessories: timepieces, parasols, flying/driving goggles, and ray guns. Modern accessories like cell phones or music players can be found in steampunk outfits, after being modified to give them the appearance of Victorian-made objects. Post-apocalyptic elements, such as gas masks, ragged clothing and tribal motifs, can also be included. Aspects of steampunk fashion have been anticipated by mainstream high fashion, the Lolita fashion and aristocrat styles, neo-Victorianism, and the romantic goth subculture.
© 2010 Photo by Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Visit us at: www.redlinextremeracing.com/
Enter to win a TEAM REDLINE XTREME VIP 500 experience of a lifetime: www.vpxsports.com/contest-giveaway/redline-xtreme-racing-...
Visit us at www.vpxsports.com
Shop at shop.vpxsports.com
Gouache on paper; 56.5 x 44.7 cm.
A native of Reggio Calabria, Boccioni studied art through the Scuola Libera del Nudo at the Accademia di Belle Arti in Rome, beginning in 1901. He also studied design with a sign painter in Rome. Together with his friend Gino Severini, he became a student of Giacomo Balla, a divisionist painter. In 1906, Boccioni studied Impressionist and Post-Impressionist styles in Paris. During the late 1906 and early 1907, he shortly took drawing classes at the Accademia di Belle Arti in Venice. In 1901, Boccioni first visited the Famiglia Artistica, a society for artists in Milan. After moving there in 1907, he became acquainted with fellow Futurists, including the famous poet Filippo Tommaso Marinetti. The two artists would later join with others in writing manifestos on Futurism.
Boccioni became the main theorist of the artistic movement. He also decided to be a sculptor after he visited various studios in Paris, in 1912, among which those of Braque, Archipenko, Brancusi, Raymond Duchamp-Villon and, probably, Medardo Rosso. While in 1912 he exhibited some paintings together with other Italian futurists at the Bernheim-Jeun, in 1913 he returned to show his sculptures at the Gallerie La Boetie: all related to the elaboration of what Boccioni had seen in Paris, they in their turn probably influenced the cubist sculptors, especially Duchamp-Villon.
In 1914, he published Pittura e scultura futuriste (dinamismo plastico) explaining the aesthetics of the group: “While the impressionists make a table to give one particular moment and subordinate the life of the table to its resemblance to this moment, we synthesize every moment (time, place, form, color-tone) and thus build the table.” He exhibited in London, together with the group, in 1912 (Sackville Gallery) and 1914 (Doré Gallery): the two exhibitions made a deep impression on a number of young English artists, in particular C.R.W. Nevinson, who joined the movement: others aligned themselves instead to its British equivalent, Vorticism, led by Wyndham Lewis.
Mobilized in the declaration of war, Boccioni was assigned to an artillery regiment at Sorte, near Verona. On 16 August 1916, Boccioni was thrown from his horse during a cavalry training exercise and was trampled. He died the following day, age thirty-three.
Satya Paul unleashes exquisite off-the -rack, mod and voguish garments intrigued to provide an ultimate seduction to the soul. Dress up in vogue to create mesmerizing moments in your life.
The range comprises of vivid tops, trendy tunics, fabulous kaftans, and sensuous blouses specially synthesized to reveal the perfection and conceal the imperfection.
These ready to wear garments are crafted envisaging the needs of the leading- edge women. These are the products for that niche clientele who crave for comfort with an urge for glamour.
More about this painting here: www.mattmcgee.com/my-u2-fandom-captured-in-a-painting/
I cannot give enough thanks to the incredibly talented Kelly Eddington -- and to the entire @U2 crew who pitched in to make this happen -- for this amazing painting that wonderfully synthesizes my U2 fandom in a single painting. The team presented this to me as a special gift right before our 20th anniversary party last month in New York City.
Thank you, Kelly. Thank you, everyone at @U2. It's a honor and blessing to get to work/play with you today, and for the past 20 years.
A first-generation antihistamine of the diphenylmethane and piperazine classes. It was first synthesized by Union Chimique Belge in 1956 and was marketed by Pfizer in the United States later the same year, and is still in widespread use today.
Hydroxyzine is used primarily as an antihistamine for the treatment of itching, allergies, hyperalgesia, motion sickness-induced nausea, and insomnia, as well as notably for the treatment of mild anxiety. Even though it is an effective sedative, hypnotic, analgesic, and tranquilizer, it shares almost none of the abuse, dependence, addiction, and toxicity potential of other drugs used for the same range of therapeutic reasons.[citation needed]
Hydroxyzine is used with opioid analgesics to increase the pain-killing ability of a given dose of opioid, reduce the quantity needed to stop a given level of pain, and/or preempt some side effects of opioids like itching, nausea, and vomiting.
Visit us at www.vpxsports.com
Shop at shop.vpxsports.com
Visit us at www.vpxsports.com
Shop at shop.vpxsports.com
Get the VPX/Redline Xtreme Race Girls Calendar shop.vpxsports.com/p-128-redline-xtreme-calendar.aspx
Visit us at www.vpxsports.com
Shop at shop.vpxsports.com
They did great, but not perfect. Bronze color of these is good, and is the sign that these berries synthesized the characteristic flavoring compounds of this grape. Got to 20 Brix, but the grapes lost leaves due to, I think, powdery mildew. That limits sugar production in the berry. I skipped a mid-late July spraying that I shouldn't have skipped. But I had no black rot so I thought I was home free.
Synthesize Her performs at The Holland Project in Reno.
www.facebook.com/SynthesizeHer
Photos by: www.TonyContini.com
These are paleopebbles eroded from an outcrop of Pennsylvanian-aged Sharon Member (a.k.a. Sharon Conglomerate; Sharon Sandstone) in northeastern Ohio. They were found in a modern stream, so they are both modern fluvial pebbles and ancient fluvial paleopebbles.
-----------------------------
[Synthesized from info. provided by several geologists during the 2003 Annual Field Conference of the Great Lakes Section, Society of Economic Paleontologists and Mineralogists]:
The Lower Pennsylvanian Sharon Formation is a 10-15 meter thick, ledge-forming, erosion-resistant unit. The Sharon is paleovalley-filling in places, so it is thicker than 10-15 meters in some spots. The jointing patterns of the Sharon Formation allow for 3-D examination around large blocks of outcrop - can see the 3-D architecture of sedimentary structures. The Pottsville Group lies over a major unconformity, which was formed by eustatic sea level fall & erosion. The Sharon Formation is the basal unit of the Pottsville sediments over this unconformity. In terms of the tectonic setting, this is in the Appalachian Foreland Basin. What influenced sedimentation and sediment supply of the Sharon Formation during the Early Pennsylvanian? Probably a migrating forebulge and Early Pennsylvanian climatic changes. The Sharon is correlatable with the Olean Conglomerate in Pennsylvania. Both the Sharon and the Olean are time-equivalent to the Tumbling Hill Member & the Huylkill Member of the lower Pottsville Formation of central Pennsylvania (both of those members are below the major unconformity in Pennsylvania, unlike in northeastern Ohio). The Sharon Conglomerate/Formation & the Olean Conglomerate were deposited under strong north-to-south paleoflow conditions.
About twelve lithofacies can be seen in the Sharon Formation in the Akron, Ohio area. The Sharon Formation is dominantly conglomerate and sandstone, with lots of sedimentary structures. It is light on fine-grained materials. The Sharon has horizontally bedded gravels, cross-bedded gravels (including trough and tabular cross bedding), deformed/overturned cross-bed sets, basal scours up to 2 meters deep (but typically 0.5 to 1 meter deep; scours are backfilled by dune/bar back migration), whole channel fills, chute fills, and gravel bar platform deposits (usually 1-2 meters thick in the Sharon; these include bar head deposits, bar core deposits, bar tail deposits, and bar margin deposits - can usually use the presence of imbricated clasts to ID bar-head & bar-core portions of gravel bar platforms, but in the Sharon, clasts are mostly spheroidal, so it is difficult to tell specific portions of gravel platforms here). In the gravel-rich Sharon deposits, get calculated average bankfull depths of 2.1 meters, average paleochannel widths of 19.9 meters, and maximum paleochannel widths of 34.3 meters. Get different numbers for the sandy Sharon deposits. The Sharon is typically more conglomeratic at the base & more sandy near the top. The Sharon’s interpreted depositional environment is gravel & sand bedload streams. Paleovalleys underneath the Sharon Formation were formed when the subsidence rate was greater than the sediment supply. Paleovalley backfilling (i.e., Sharon deposits) occurred when the subsidence rate was less than the sediment supply. The change in fluvial style seen in Sharon deposits is probably due to filling & overtopping of paleovalleys.
Beds of the Sharon Formation are usually cliff-forming. The Sharon in the Akron area consists of quartz-pebble conglomerate & quartzose sandstone & pebbly quartzose sandstone & sandy quartz-pebble conglomerate & some lenses or thin intervals of granulestone. The basal Sharon is conglomeratic - the “lower conglomerate”. An “upper conglomerate” can be seen in places - it is usually quite thin (1-2 pebbles thick in places), and in some places, it splits into two horizons; in some places, it’s not there at all. Pebbles are almost entirely white vein quartz, with an uncertain source from the north. Detrital muscovite in the Sharon has been dated to about 370 and 406 Ma (Devonian), so the source area includes Acadian Orogeny materials. The Sharon has relatively common cross-bedding, with a few overturned cross-beds visible in areas. Abundant iron oxide staining is present in the Sharon sandstones, with a variety of morphologies - this can weather out as resistant ridges or as 3-D surfaces. Many vugs have thick goethite linings. Many goethite-stained quartz pebbles are present. Seeps & springs occur sporadically along the sandstones of the lower Sharon Formation in places. These spring waters have widely variable pH and TDS (total dissolved solids). Some dry springs are present - conduits without water emerging. A few places in basal Sharon strata have obvious rip-up shale clasts, derived from uppermost Meadville Shale beds (below the Mississippian-Pennsylvanian unconformity). One outcrop is known with many Meadville Shale clasts mixed in with Sharon quartz pebbles - this appears to represent paleobank failure of Meadville material during near-earliest Sharon deposition.
-----------------------------
Stratigraphic provenance: Sharon Formation, lower Pottsville Group, upper Lower Pennsylvanian
Locality: loose pebbles from stream bed of Stebbins Gulch, Holden Arboretum, Geauga County, northeastern Ohio, USA
Here's a quartetto of photos of
the colorful and delightfully dynamic
Elizabeth,
star of the Hollywood Pin-Up Girls
burlesque troupe
who has been featured many
a time here in this river of images,
performing here on the stage
of the august El Cid night club
on a patch of Sunset Boulevard
in Hollywood that is still not ritzy
or over-developed
but will be soon.
I couldn't decide which color
i liked best, so decided to
synthesize all four into one.
Elle est les
temps quatre
de sexe
et de charme.
FOV: 5" wide
Home made fluorescent paint made with synthesized fluorescent minerals combined with white glue and water and painted on charred wood.
Contains:
Willemite (FL+PHOS Green >UVc)
Calcite (FL Green,Red >UVb,c)
Sphalerite (FL+PHOS Orange, Blue-green >UVabc)
Scheelite (FL Blue >UVc)
Powellite (FL Yellow >UVbc)
Shown under UVc light.
Key:
WL = White light (halogen + LED)
FL = Fluoresces
PHOS = Phosporescent
UVa = 368nm (LW), UVb = 311nm (MW), UVc = 254nm (SW)
'>' = "stimulated by:", '!' = "bright", '~' = "dim"
Obtained from the basement lab. Thanks to Gordon Czop for synthesizing the scheelite and powellite.
..Fluorescent Art\Fluorescent Paint\Trees
Series best viewed in Light Box mode using Right and Left arrows to navigate.
Photostream best viewed in Slideshow mode (in the dark).
18 Watt Triple Output UV lamp from Polman Minerals - Way Too Cool UV lamps
Mammut americanum (Kerr, 1792) - American mastodon partial humerus from the Pleistocene of Colorado, USA. (DMNH specimen, Denver Museum of Nature & Science, Denver, Colorado, USA)
Colorado's Snowmass fossil site was discovered in 2010 and has become one of the most significant and richly fossiliferous Pleistocene locality in the world. The first fossil was noticed during bulldozer excavation at Ziegler Reservoir in the town of Snowmass Village. Tens of thousands of individual fossils have been recovered. The most common species of vertebrate is the tiger salamander, Amystoma tigrinum. The most common species of mammal is the American mastodon, Mammut americanum. The bone shown above is an example.
The Snowmass fossil site occurs in a long-lived Pleistocene-aged, high-altitude glacial lake deposit in Colorado's Elk Mountains. It is located near the intersection of Snowmass Creek Valley and Brush Creek Valley (= tributary). During the Pleistocene Ice Age, the Snowmass Creek Valley was filled with an alpine glacier. After the Bull Lake glaciation receded from the Elk Mountains about 155,000 to 130,000 years ago, a then-new moraine deposit blocked drainage from Brush Creek and formed a ~10 meter-deep glacial lake. The lake eventually filled up with fine-grained siliciclastic sediments, interbedded with some coarse-grained, poorly-sorted intervals near the lake margin. The latter units likely represent landslide deposits and subaqueous mass wasting events.
Fossil-hosting lacustrine sediments have been dated by various methods to between ~140,000 years ago and over 45,000 years ago.
The partial mastodon humerus bone shown above is remarkable for having tooth marks made by a short-faced bear (Arctodus simus) and teeth scrape marks made by rodents.
Classification: Animalia, Chordata, Vertebrata, Mammalia, Proboscidea, Mammutidae
Locality: Snowmastodon site, Ziegler Reservoir, Snowmass Village, central Pitkin County, western Colorado, USA
----------------------
Site-specific info. mostly synthesized from:
Pigati et al. (2014) - Geologic setting and stratigraphy of the Ziegler Reservoir fossil site, Snowmass Village, Colorado. Quaternary Research 82: 477-489.
Mahan et al. (2014) - A geochronologic framework for the Ziegler Reservoir fossil site, Snowmass Village, Colorado. Quaternary Research 82: 490-503.
Sertich et al. (2014) - High-elevation Late Pleistocene (MIS 6-5) vertebrate faunas from the Ziegler Reservoir fossil site, Snowmass Village, Colorado. Quaternary Research 82: 504-517.
Fisher et al. (2014) - Taxonomic overview and tusk growth analyses of Ziegler Reservoir proboscideans. Quaternary Research 82: 518-532.
----------------------
See info. at:
en.wikipedia.org/wiki/Mastodon
and
Tattoos are wounds to heal other wounds. Tattoos can help to synthesize and process traumatic events at individual and social levels. Adrian works as a loader in a Mexico City market. A cobra was the most adequate design he found to cover the long stab wound on his stomach. Five days after being stabbed, he was working again: “It didn't really hurt. I have never had pain because of the wound, not even when loading heavy merchandise. The tattoo was more painful; I didn't mind to bear the pain until it was finished”.
Through marking his body at the trauma site and enduring five hours of pain under the needle, Adrian was able to come to terms with his physical injury and obtain a sense of control.
Likewise, the tattoo embellished the “ugly” stab wound with another more socially accepted wound.
Through the tattoo Adrian negotiates both his scar and memories with himself and others.
Photograph and Text: Frances Paola Garnica
“As information on Cambodian birds has grown exponentially since the 1990s, the country has needed a national treatment synthesizing latest knowledge on its fascinating avifauna for some time.
The Birds of Cambodia, An Annotated Checklist addresses this need. The book provides an exhaustive account of all 599 bird species confirmed for Cambodia to date, with information on seasonal status, abundance, habitats, altitude range and distribution, in addition to notes on breeding and conservation status. Over 80 species are illustrated by colour photographs taken in the wild in Cambodia.
The introduction presents the country’s natural geography, major habitats, protected areas, ornithological history and survey coverage, as well as threats to birds and conservation successes and challenges. Species accounts summarise current knowledge for each species, and are systematically listed with their English, scientific, French and Khmer names, including transliteration. Detailed reviews of records are also provided for rarities and all species of conservation concern, together with a proposed national conservation category.
This landmark in Cambodian ornithology is the result of 12 years of observations and ornithological surveys by the author who lived and travelled extensively in the country from 1994 to 2006, followed by six years of detailed review on a secluded French island. It will undoubtedly become the standard reference for conservationists and ornithologists in Cambodia, as well as all birdwatchers visiting the Kingdom.”
516 pages + Cover
Palatino Linotype
Helvetica Neue LT Std
Khmer OS Bokor
18 cm X 25 cm [ 7.0866142 inches X 9.8425197 inches ]
Exhibition Dates: January 30 - February 16, 2018
Reception: Tuesday, January 30, 2018 5:00-7:00pm
Gallery hours are 10am - 5pm each day.
Ceramics Program, Office for the Arts at Harvard
224 Western Ave, Allston, Massachusetts 02134
This exhibition features ceramics in experimental architectural applications made by students from the Harvard Graduate School of Design during the Fall 2017 course, Material Systems: Digital Design and Fabrication.
Harvard University Graduate School of Design Material Processes and Systems Group (MaP+S)
with support from ASCER Tile of Spain
Led by: Professor Martin Bechthold and Jose Luis García del Castillo y López
Assisted by: Ngoc Doan, Saurabh Mhatre, Chien-Min Lu, Zach Seibold and Diana Yan
in collaboration with Harvard Ceramics Program
Consultants:
Kathy King, Director of Education
Geoff Booras, Instructional Ceramics Technician
Assisted by: Mark Burns, Artist In Residence; Casey Zeng, Ceramics Program Staff; Natalie Andrew, Independent Artist
Exhibition curated by Chien-Min Lu and Jose Luis García del Castillo y López.
Featuring the work of Harvard Graduate School of Design Students:
Sulaiman Alothman
Nicole Bakker
Andrew Bako
Kenner Carmody
Jiawen Chen
Olga Geletina
Margaret George
Iain Gordon
Jin Guo
Maitao Guo
Mia Guo
Nicolas Hogan
Ching Che Huang
Anqi Huo
Hyeonji Im
Aurora Jensen
Meng Jiang
Mari Jo
Francisco Jung
Haeyoung Kim
Yonghwan Kim
Ao Li
Xinyun Li
Lubin Liu
Marcus Mello
Nathalie Mitchell
Peter Osborne
Xiaobi Pan
Nathan Peters
Sejung Song
Ziwei Song
Alexandru Vilcu
Na Wang
Math Whittaker
Diana Yan
HyeJi Yang
Evelyn Zeng
Jianing Zhang
Xin Zheng
The translation between architectural design and the subsequent actualization process is mediated by various tools and techniques that allow design teams, fabricators and installers to engage the materiality of architecture. Over the past decade advances in material development have been catalyzed by increasingly robust implementations of digital design and fabrication techniques that have empowered designers through digital modeling, simulation, and the increasingly digital augmentation of all physical processes. Creative applications of material related technologies have produced new forms of expression in architecture, triggered a debate on digital ornament, and continue to advance the performative aspects of buildings. Yet we are only at the beginning of a new age of digital materiality…
The exhibition positions material systems as combinations of design technologies with material processing and manipulation environments. Material systems are positioned as central to a research based design enquiry that capitalizes on opportunities that emerge when craft-based knowledge is synthesized with CNC-machines, robotic technologies, additive manufacturing and material science. This year’s course will focus on ceramic systems and includes a collaboration with the Harvard Ceramics Program in Allston (consultant: Kathy King). The course builds on years of collaborative research by the Material Processes and Systems (MaP+S) group at the GSD. Ceramics is the first ever material created by mankind – it is omnipresent in the craft-studio as well as in high-volume manufacturing environments. Pleasing to the touch and easily manipulated by hand, it can just as easily be subject to digital technologies and robotic approaches. While ceramic-specific aspects of material design and manipulation will be taught emphasis is on understanding ceramics as a microcosm of material research that offers insights which transfer to work with almost any material used in architecture.
The course is supported by a grant from ASCER Tile of Spain. A selection of project will also be shown at the 2018 CEVISAMA in Valencia, Spain.
www.gsd.harvard.edu/course/material-systems-digital-desig....
ω-Amino-functionalized polystyrene (PS-NH2) was synthesized at room temperature in the presence of 80% THF / 20% benzene via high-vacuum techniques. Simulations (QM/MM) illustrate the delocalization of electrostatic potential for effective polystyryl anion separation (inner), while the C-Br bond dissociates with preferential orientation.
My favorite TV closing logo - the 1965-74 Screen Gems S, aka The S From Hell, in its original six-note two synthesized tones Black and White glory. The 'S' was red in the color version and in 1971 the six notes at the beginning were shortened to three with the 'S' black on a yellow background.
The ƒragment set is a collection of images that I call "design samples". You can use, remix, manipulate or synthesize the images in this set to your liking.
You are free:
* to Share — to copy, distribute and transmit the work
* to Remix — to adapt the work
Under the following conditions:
* Attribution — You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).
* Attribute this work: Sean Lizama sean@asymmetricalbydesign.com
* Noncommercial — You may not use this work for commercial purposes.
Entry in category 1. Object of study; © CC-BY-NC-ND: Amin Hodaei
1. Nature often produces biominerals, such as calcium carbonate, from amorphous precursors that are crystalized when needed. The processes by which these amorphous precursors form and how they are crystallized are not yet fully understood and most likely depend on the local synthesis conditions. This lack of understanding makes the control over the structure and local composition of manmade calcium carbonate-based materials challenging. To address this challenge, we employ a surface acoustic wave (SAW)-based spray-dryer to study the influence of organic additives on the structure of amorphous calcium carbonate particles and their stability against crystallization.
2. A collection of ancient carvings were found at the bottom of the matter. These ancient carvings are made up of calcium carbonate nanoparticles which have been synthesized using a SAW-based spray-drier fabricated at the Center of Micronanotechnology (CMi) at EPFL.
Skarn from the Late Paleozoic of Tajikistan. (~5.5 centimeters across at its widest)
Skarn is a crystalline-textured, contact metamorphic rock. It forms by heating and addition of elements (metasomatism) to country rock in the immediate vicinity of an igneous intrusion (batholith, stock, sill, dike, laccolith). The mineralogy of skarns is highly variable, depending on the chemistries of the host rock and the intruding magma.
The skarn sample seen here is from Tajikistan's Chorukh-Dairon Deposit, which was mined for decades for its tungsten (W), molybdenum (Mo), and copper (Cu) content. Those elements are present in the minerals scheelite, molybdenite, and chalcopyrite. This specimen has scheelite, pyroxene, chalcopyrite, and pyrite. The deposit is considered a "calcareous infiltration skarn" and is hosted in Late Paleozoic-aged, mafic to felsic, intrusive igneous rocks - most are intermediate in composition.
Geologic unit: Chorukh-Dairon W-Mo Skarn Deposit, Late Pennsylvanian to earliest Permian ~298-306 Ma
Locality: Chorukh-Dairon Mine, near the town of Chorukh-Dairon, Ghafurov District, Sughd Province, Middle Tien Shan Mountains, far-northern Tajikistan (apparently in the vicinity of 40° 23' 46.27" North latitude, 69° 40' 51.17" East longitude)
--------------------------------------
Site-specific info. synthesized from:
Soloviev & Kryazhev (2017) - Geology, mineralization, and fluid inclusion characteristics of the Chorukh-Dairon W-Mo-Cu skarn deposit in the Middle Tien Shan, northern Tajikistan. Ore Geology Reviews 80: 79-102.
Crossed-eyes 3D (stereoscopic) viewing: View the two photos cross-eyed until a third one appears in the middle, which will be in stereo 3D. The brain nicely synthesizes a composite image with realistic depth and sharpness. Then put your two hands in front of your face to cover the photos on the left and right so only the middle one remains in your sight.
Cameraphone and compact camera handheld side by side. Olympus C370Z (L) & Sony Ericsson K660i (R).
Henderson County, NC.
Synthesized IRG-->RGB image from a single exposure, Through rear-mounted Wratten 12 gelatin filter. Worked up in Wavelength Pro and Photoshop.
Model: Ari
model shop studio
© 2009 Photo by Lloyd Thrap Photography for Halo Media Group
Lloyd-Thrap-Creative-Photography
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
EMC Blueprints is a new, innovative way of capturing the big ideas presented at EMC World. While EMC's executives gave their keynote addresses, artists trained in the practice of graphic recording produced visual transcripts of their talks. This involved listening to each talk, synthesizing the key ideas and recording them in a flow of images and text, all in real time. Hear the story. See the story. #EMCBlueprints.
Watch the keynote and see more at emc.im/12e687p
The genetically modified soy, glyphosate containing impossible burger would be considered a NOVA Classification Group 4: Ultra-processed food, defined as:
"Ultra-processed foods are industrial formulations made entirely or mostly from substances extracted from foods (oils, fats, sugar, starch, and proteins), derived from food constituents (hydrogenated fats and modified starch), or synthesized in laboratories from food substrates or other organic sources (flavor enhancers, colors, and several food additives used to make the product hyper-palatable). Manufacturing techniques include extrusion, moulding, and preprocessing by means of frying. Beverages may be ultra-processed. Group 1 foods are a small proportion of, or are even absent from, ultra-processed products."
Philmont Oblong, bless his soul, was a pioneer in the early research of mind altering substances. A chemistry major at UCLA, he dropped out and dropped acid with Timothy Leary in 1963 and later joined up with Kesey's Merry Pranksters. All the while, he maintained his interest in chemistry and conducted experiments that have since become legendary.
In 1966, Oblong was able to synthesize a compound that combined LSD-25, methaqualone and soma. The concoction was administered as a liquid to various groups of people, including the Pranksters, and most who drank it experienced euphoric visions, heightened dream states, and pronounced feelings of peace and contentment. The most unusual effect of 'placid' (the name it was given) was its ability to induce shared dreams among those administered the drug at the same time.
One 'placid-in' held in Palo Alto in September of 1967 marked the turning point for the drug and for Oblong. Approximately 40 individuals drank a potent batch of placid and quickly fell under its spell. A mass dream orgy ensued. While thus engaged, the autumnal equinox came and went, putting an end to the Summer of Love. Coitus interuptus awoke the group and they began bickering with one another in regards their chosen dream-sex partners. Knives were produced, blood was spilled; it was a bad trip.
When word got around, placid was shunned. Philmont Oblong, dejected, soon became addicted to Screaming Yellow Zonkers and in March of 1969 died from a massive overdose. He was 27.
ORNL's Charles Seipp synthesized a simple compound known as guanidine that was found to bind strongly with carbon dioxide directly from the air and form insoluble carbonate crystals that are easily separated from water.
Argonne chemist Junbing Yan uses a fluidized bed chemical vapor deposition process to synthesize high-capacity anode materials for lithium-ion batteries.
29663D21
Satya Paul unleashes exquisite off-the -rack, mod and voguish garments intrigued to provide an ultimate seduction to the soul. Dress up in vogue to create mesmerizing moments in your life.
The range comprises of vivid tops, trendy tunics, fabulous kaftans, and sensuous blouses specially synthesized to reveal the perfection and conceal the imperfection.
These ready to wear garments are crafted envisaging the needs of the leading- edge women. These are the products for that niche clientele who crave for comfort with an urge for glamour.