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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.
I think both cameras have a lot to offer, and I like them both. However, I do find them both problematic and feel a bit frustrated that their strengths and flaws seem to be complimentary. If Panasonic do buy Olympus's camera division (as opposed to just the medical imaging part), I'd love to think that they could synthesize the best of these two cameras, or their newest equivalents.
Basically it seems that Panasonic have created a camera (and system) which is lovely to hold and nice to use but whose JPEG engine clearly loses more of the quality of its RAW output than we have the right to expect these days from a reasonably serious camera.
Olympus, on the other hand, have a camera (and system) which as everyone knows has a rather sweet JPEG engine, an EVF which is simply excellent (and clearly superior to the very good one built into the Panny) and an extremely tweakable interface where it is possible to set the camera up to get just the desired results. The downsides? Their cameras are seriously fiddly to use, even after you've spent months familiarising yourself with their intricacies, and come set up with a hideously strong tonal optimiser (auto gradation) defaulted to ON, which is guaranteed to have anyone experienced in shooting in low light believing they have a dud in this machine which wants black to be a noisy, speckled grey. Then after a period of reading and fiddling, it becomes apparent that not only can you turn this hideous feature off (OK, to be fair it doesn't ruin most outdoor daylight shots), but you can actually tweak the tone curve used manually and that there are 45 different possible settings for it. That's LOW, NORMAL and HIGH...and each has 15 different settings, accessed through a rather well-hidden trick of pressing the +/- button followed by the INFO button.
Anyway, that's all for now...
P4242526
International Labor Studies (ILS) Executive Director Ahmma Charisma Lobrin-Satumba synthesizes the consultative forum on Violence and Harassment in the World of Work. The forum was held in Manila on 12 April 2019, in line with the standard-setting agenda for the upcoming 108th International Labour Conference. For more information, visit www.ilo.org/ilc/ILCSessions/108/reports/reports-to-the-co...
Photo © ILO/L. Gonzalez
The work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/license/by-nc-nd/3.0/igo/deed.en_US
Owen Dippie’s incredible mural of Max Gimblett.
Maxwell Harold Gimblett, ONZM (born 5 December 1935) is a New Zealand and American artist. His work synthesizes postwar American and Japanese art using abstract expressionism, modernism, spiritual abstraction, and Zen calligraphy.
Photo showing Werner Jauk (AT) and his project touch the sound 2.0 / sound-sculpting, which is an effort to focus auditory attention on the importance of the interface that is the human body and to explore the reality-constructions of two dissimilar, sensory forms of interaction—on one hand, mechanical, passive, analytical hearing of fleeting sounds; on the other, active deployment of our sensory apparatus and thus synthesizing vision.
credit: Florian Voggeneder
Led by Theme "Long-term Adaptation", the CGIAR Research Program on Climate Change, Agriculture and Food Security (CCAFS) coordinated a side event on Agriculture in NAPs at the UNFCCC Conference of the Parties (COP19) in Warsaw, Poland.
The side event reviewed the NAP process for climate change adaptation in the agriculture sector by synthesizing the experiences of 10 countries from Africa, Asia and Latin America, drawn from a 2-day workshop on NAPs and agriculture held in the days leading up to COP 19.
Photos: C.Schubert (CCAFS)
Synthesizing a number of sources both Stephanie and I enjoy learning with and from. This model is informed by the work of Beth Kanter, Chris Brogan, colleagues at CPSquare and the Native teachings of the late Paula Underwood. Our most solid framework so far :o) Comments and insights are most welcome.
Synthesize Her performs at The Holland Project in Reno.
www.facebook.com/SynthesizeHer
Photos by: www.TonyContini.com
Another one from the archives.
The Church of the Gesù (Italian: Chiesa del Gesù ; Italian pronunciation: [dʒeˈzu]) is the mother church of the Society of Jesus, a Roman Catholic religious order also known as the Jesuits. Officially named Chiesa del Santissimo Nome di Gesù all'Argentina[1][2] (English: Church of the Most Holy Name of Jesus), its facade is "the first truly baroque façade", introducing the baroque style into architecture [3],. The church served as model for innumerable Jesuit churches all over the world, especially in the Americas. The Church of the Gesù is located in the Piazza del Gesù in Rome.
First conceived in 1551 by Saint Ignatius of Loyola, the founder of the Jesuits Society of Jesus, and active during the Protestant Reformation and the subsequent Catholic Reformation, the Gesù was also the home of the Superior General of the Society of Jesus until the suppression of the order in 1773.[4]
Although Michelangelo, at the request of the Spanish cardinal Bartolomeo de la Cueva, offered, out of devotion, to design the church for free, the endeavor was funded by Cardinal Alessandro Farnese, grandson of Pope Paul III, the pope who had authorized the founding of the Society of Jesus. Ultimately, the main architects involved in the construction were Giacomo Barozzi da Vignola, architect of the Farnese family, and Giacomo della Porta. The church was built on the same spot as the previous church Santa Maria della Strada, where Saint Ignatius of Loyola had once prayed before an image of the Holy Virgin. This image, now adorned with gems, can be seen in the church in the chapel of Ignatius on the right side of the altar.
Construction of the church began on 26 June 1568 to Vignola's design. Vignola was assisted by the Jesuit Giovanni Tristano, who took over from Vignola in 1571. When he died in 1575 he was succeeded by the Jesuit architect Giovanni de Rosis.. Giacoma della Porta was involved in the construction of the cross-vault, dome, and the apse.
The revision of Vignola's façade design by della Porta has offered architectural historians opportunities for a close comparison between Vignola's balanced composition in three superimposed planes and Della Porta's dynamically fused tension bound by its strong vertical elements, contrasts that have sharpened architectural historians' perceptions for the last century (Whitman 1970:108). Vignola's rejected design remained readily available to architects and prospective patrons in an engraving of 1573.
The design of this church has set a pattern for Jesuit churches that lasted into the twentieth century, its innovations require enumerating. The Jesuit Mother Church was built according to the new requirements formulated during the Council of Trent. There is no narthex in which to linger: the visitor is projected immediately into the body of the church, a single nave without aisles, so that the congregation is assembled and attention is focused on the high altar. In place of aisles there are a series of identical interconnecting chapels behind arched openings,[5] to which entrance is controlled by decorative balustrades with gates. Transepts are reduced to stubs that emphasize the altars of their end walls.
The plan synthesizes the central planning of the High Renaissance,[6] expressed by the grand scale of the dome and the prominent piers of the crossing, with the extended nave that had been characteristic of the preaching churches, a type of church established by Franciscans and Dominicans since the thirteenth century. Everywhere inlaid polychrome marble revetments are relieved by gilding, frescoed barrel vaults enrich the ceiling and rhetorical white stucco and marble sculptures break out of their tectonic framing. The example of the Gesù did not completely eliminate the traditional basilica church with aisles, but after its example was set, experiments in Baroque church floor plans, oval or Greek cross, were largely confined to smaller churches and chapels.
The Church of the Gesù is home to the venerated 15th-century Madonna Della Strada shown here after its 2006 restoration.
The church was consecrated by Cardinal Giulio Antonio Santori, the delegate of pope Gregory XIII on 25 November 1584.
[edit]Façade
The façade of the church is divided into two sections. The lower section is divided by six pairs of pilasters with Corinthian capitals, while the upper section is divided with four pairs of pilasters. The upper section is joined to the lower section by a volute on each side. The main door stands under a curvilinear tympanum, while the two side doors are under a triangular tympanum. Above the main door one can see a shield with the christogram IHS, representing the name of Jesus Ihesus. Detractors sometimes explain this monogram as Iesuiti Habent Satis (Jesuits have enough). The façade also shows the papal coat of arms and a shield with the initialism SPQR, tying this church closely to the people of Rome.
The present high altar, designed by Antonio Sarti (1797–1880), was constructed towards the middle of the 19th century. It is dominated by four columns under a neo-classical pediment. Sarti also covered the apse with marble and made the drawings of the tabernacle. The angels surrounding the IHS aureole were sculpted by Rinaldo Rinaldi (1793–1873). The two angels kneeling at each side of the aureole are the work of Francesco Benaglia and Filippo Gnaccarini (1804–1875). The altarpiece, representing the "Circumcision", was painted by Alessandro Capalti (1810–1868). The ceiling of the apse is adorned by the painting "Glory of the Mystical Lamb" by Baciccia (Giovanni Battista Gaulli).
The most striking feature of the interior decoration is the ceiling fresco is the grandiose Triumph of the Name of Jesus by Giovanni Battista Gaulli. Gaulli also frescoed the cupola, including lantern and pendentives, central vault, window recesses, and transepts' ceilings.
The first chapel to the right of the nave is the Cappella di Sant'Andrea, so named because the church previously on the site, which had to be demolished to make way for the Jesuit church, was dedicated to St. Andrew. All the painted works were completed by the Florentine Agostino Ciampelli. The frescoes on the arches depict the male martyrs saints Pancrazio, Celso, Vito, and Agapito, while the pilasters depict the female martyred saints Cristina, Margherita, Anastasia, Cecilia, Lucy, and Agatha. The ceiling is frescoed with the Glory of the Virgin surrounded by martyred saints Clemente, Ignazio di Antiochia, Cipriano, and Policarpo The lunettes are frescoed with Saints Agnes & Lucy face the storm and St. Stephen and the Deacon St. Lawrence. The altarpiece depicts the Martyrdom of St Andrew.
The second chapel to the right is the Cappella della Passione, with lunette frescoes depicting scenes of the Passion: Jesus in Gethsemane, Kiss of Judas, and six canvases on the pilasters: Christ at the column Christ before the guards, Christ before Herod, Ecce Homo, Exit to Calvary, and Crucifixion. The altarpiece of the Madonna with child and beatified Jesuits, replaces the original altarpiece by Scipione Pulzone.[7] The program of paintings is indebted to Giuseppe Valeriani and painted by Gaspare Celio. The altar has a bronze urn with the remains of 18th century Jesuit St. Giuseppe Pignatelli, canonized by Pius XII in 1954. Medals on the wall commemorate P. Jan Roothaan (1785–1853) and P. Pedro Arrupe (1907–1991), the 21st and 28th Superior General of the Society of Jesus.
The third chapel to the right is the Cappella degli Angeli has a ceiling fresco of the Coronation of Virgin and altarpiece of Angels worshiping Trinity by Federico Zuccari. He also painted the canvases on the walls, Defeat of rebel angels on right, and Angels liberate souls from Purgatory on the left. Other frescoes represent Heaven, Hell, and Purgatory. The angles in the niches of the pilasters were completed by both Silla Longhi and Flaminio Vacca.
The larger Saint Francis Xavier Chapel in the right transept, was designed by Pietro da Cortona, originally commissioned by cardinal Giovanni Francesco Negroni. The polychromatic marbles enclose a stucco relief representing Francis Xavier welcomed to heaven by angels. The altarpiece shows the Death of Francis Xavier in Shangchuan Island by Carlo Maratta. The arches are decorated with scenes from the life of the saint, including Apotheosis of the saint in the center, Crucifixion, Saint lost at sea, and at left, Baptism of an Indian princess, by Giovanni Andrea Carlone. The silver reliquary conserves part of the saint's right arm (by which he baptized 300,000 people), his other remains are interred in the Jesuit church in Goa.
The last chapel on the far end of the nave, to the right of the high altar, is the chapel of the Sacro Cuore (holy heart of Jesus).
The sacristy is on the right. In the presbytery is a bust of Cardinal Robert Bellarmine by Bernini.
The first chapel to the left, originally dedicated to the apostles, is now the Cappella di San Francesco Borgia, the former Spanish Duke of Gandia, who renounced his title to enter the Jesuit order, and become its third "Preposito generale". The altarpiece, Saint Francesco Borgia in Prayer by Pozzo, is surrounded by works by Gagliardi. Ceiling frescoes of (Pentecost) and lunettes (left Martyrdom of St. Peter, to sides Faith and Hope and right, Martyrdom of St. Paul) with allegorical Religion and Charity are works Nicolò Circignani (Il Pomarancio). Pier Francesco Mola painted the walls, on left with St. Peter in jail baptizes saints Processo & Martiniano, to right is the Conversion of St. Paul. There are four monuments by Marchesi Ferrari.
The second chapel on the left is dedicated to the Nativity, and called Cappella della Sacra Famiglia, commissioned by patron Cardinal Cerri, who worked for the Barberini family. The altarpiece of the nativity by Circignani. In the roof, the Celestial celebration on the nativity of Christ, on the pinnacles are David, Isaiah, Zechariah and Baruch, on the right lunette, an Annunciation to the Shepherds, and on the left, a Massacre of the Innocents. Also are frescoes on Presentation of Jesus to the Temple and Adoration by Magi. Four allegorical statues represent Temperance, Prudence on right; and Fortitude and Justice.
The third chapel to the left is the Cappella della Santissima Trinità, commissioned initially by the clerical patron Pirro Taro, is named due to the main altarpiece by Francesco Bassano the Younger. The frescoes completed mainly by three painters and assistants during 1588-1589; the exact attributions are uncertain, but it is said the Creation, the angels on the pilasters, and the designs of some of the frescoes by the Florentine Jesuit painter, Giovanni Battista Fiammeri. Painted with assistants was the Baptism of Christ on the right wall. The Transfiguration on the left wall and the Abraham with three angels on the right oval were by Durante Alberti. God the Father behind a chorus of angels in the left oval and in the pinnacles, angels with God’s attributes, were completed by Ventura Salimbeni. The reliquary on the altar holds the right arm of the polish Jesuit St. Andrew Bobola, martyred in 1657 and canonized by Pius XI in 1938.
The imposing and luxurious St. Ignatius Chapel, located on the left side of the transept, is the church's masterpiece, designed by Andrea Pozzo between 1696 and 1700. It houses the saint's tomb. The altar by Pozzo shows the Trinity on top of a globe. The lapis lazuli, representing the Earth, is thought to be the largest piece in the world, but is actually mortar craftly decorated with lapis lazuli. The four lapis lazuli-veneered columns enclose the colossal statue of the saint by Pierre Legros. The latter is a copy, probably by Adamo Tadolini working in the studio of Antonio Canova Pope Pius VI had the original silver statue melted down, ostensibly to pay the war reparations to Napoleon, as established by the Treaty of Tolentino, 1797. Originally the project was designed by Giacomo della Porta , then by Cortona ; but ultimately Pozzo won a public contest to design the altar. A canvas of the Saint receives the monogram with the name of Jesus from the celestial resurrected Christ attributed to Pozzo. The urn of St. Ignatius is a bronze urn by Algardi that holds the body of the saint, below are two groups of statues where Religion defeats heresy by Legros (with a putto - on the left side - tearing pages from heretic books by Luther, Calvin and Zwingli), and Faith defeats idolatry by Jean-Baptiste Théodon.
The St. Ignatius Chapel also hosts the restored macchina barocca or conversion machine of Andrea Pozzo. During daytime the statue of St. Ignatius is hidden behind a large painting, but every day at 17.30 loud religious music is played and the painting slides away in the floor, revealing the statue, with large spotlights switched on to show the piece[8].
The last chapel on the far end of the nave, to the left of the high altar, is the Chapel of the Madonna della Strada. The name derives from a medieval icon, once found in a now-lost Church in the piazza Altieri, venerated by sant'Ignazio. The interior is designed and decorated by Giuseppe Valeriani, who painted scenes from the life of the Virgin. The cupola frescoes were painted by G.P. Pozzi.
[edit]Legacy
The Church of the Gesù was the model of numerous churches of the Society of Jesus throughout the world, starting from the Church of St.Michael in Munich (1583–1597) and the Corpus Christi Church in Niasviž (1587–1593). Various parishes also share the name of the Church of the Gesù in Rome.
Source: Wikipedia
Photo showing Ralf Baecker (DE) and his work Mirage at CyberArts 2015 Exhibition at OK.
Mirage is a projection apparatus that makes uses of principles from optics and artificial neural network research. *Mirage* generates a synthesized landscape based on its perception through a fluxgate magnetometer (Förster Sonde).
credit: tom mesic
Our line of Sunburst Cuffs synthesize a medley of sprinkler heads and coinage from around the world hand-riveted onto various cuffs of brass, bronze and silver-plated estate trays.
Born June 23, 1957 in Novara, Italy, David Larible has been seen in many European circus rings, on television, and on theater stages; he had an amazing career in the United States and Mexico, and has made frequent appearances in Russia and Eastern Europe. His is by far the most famous (and most copied) circus clown in the world.
David is the first traditional circus auguste to have brilliantly synthesized the virtuosity of old musical augustes and the classic clown entrée repertoire with new trends such as the Russian lyrical interpretation of clowning, and the street-rooted audience participation that appeared in Europe in the early 1980s.
A former acrobat, and an accomplished and versatile musician, David has a fertile imagination and a wonderful sensibility that led him to continuously work on new comedy material: He has, at the time of this writing (2009), developed about twenty different pieces, some of which he has gathered into a one-man show for the theater stage. [read on]
***
David Larible (* 23. Juni 1957 in Verona) ist ein italienischer Clown.
Die Familie Larible kommt ursprünglich aus Frankreich. David Larible blickt auf sechs Generationen von Artisten zurück. Es bestehen verwandtschaftliche Bindungen mit zahlreichen anderen europäischen Zirkusfamilien. Sein Urgroßvater Pierre Larible war Akrobat und Tänzer, der Großvater Clown. Laribles Vater ist der ehemalige Trapezkünstler und Jongleur Eugenio Larible, der heute noch an der Zirkusschule von Verona unterrichtet. Die Mutter Lucina Casartelli (1931–2003) war Zirkuskind und Artistin wie ihr Mann.
David Larible hat drei Schwestern: Eliana Paul, verheiratet mit Bernhard Paul, Cinzia Larible-Gerard und die Trapezkünstlerin Vivien, verheiratet mit Noè España von der Ikarier-Truppe Flying Españas.
Larible ist seit 1982 mit der (damals noch aktiven) mexikanischen Trapezkünstlerin America Olvera Jimenez verheiratet. Das Paar hat zwei Kinder – die Tochter Shirley (* 1989) und den Sohn David Pierre (* 1997). Beide wollen Artisten werden. [weiterlesen]
@ Circus Roncalli (German only)
FOV: 5" wide
Home made fluorescent paint made with synthesized fluorescent minerals combined with white glue and water and painted on charred wooden blocks. The glue fluoresces blue under UVa (something I didn't realize until I'd painted the blocks).
Contains:
Willemite (FL+PHOS Green >UVc)
Calcite (FL Red >UVc)
Sphalerite (FL+PHOS Orange, Blue-green >UVabc)
Shown under UVabc 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.
..Fluorescent Art\Fluorescent Paint\Blocks
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
bioLogic is growing living actuators and synthesizing responsive bio-skin in the era where bio is the new interface. Natto bacteria are harvested in a bio lab, assembled by a micron-resolution bio-printing system, and transformed into responsive fashion, a “Second Skin”. The synthetic bio-skin reacts to body heat and sweat, causing flaps around heat zones to open, enabling sweat to evaporate and cool down the body through an organic material flux.
credit: Florian Voggeneder
Futel radiation monitor. Select option 2, hold the sample to the monitor, and hear a recording of how many millisieverts per hour it is emitting on the handset.
We had been planning on running a hostile conference call, where every phone in the camp would be called at once and connected to the conference - an ancient prank phone call trick. But Shadytel had a hardware failure with the machine that was providing us SIP service, and we only had equipment to bridge one PSTN line to our VOIP box at a time. So instead we called every phone, randomly, one phone every minute, and had a synthesized voice read the current ambient radiation.
Led by Theme "Long-term Adaptation", the CGIAR Research Program on Climate Change, Agriculture and Food Security (CCAFS) coordinated a side event on Agriculture in NAPs at the UNFCCC Conference of the Parties (COP19) in Warsaw, Poland.
The side event reviewed the NAP process for climate change adaptation in the agriculture sector by synthesizing the experiences of 10 countries from Africa, Asia and Latin America, drawn from a 2-day workshop on NAPs and agriculture held in the days leading up to COP 19.
Photos: C.Schubert (CCAFS)
‘Roussillon’ - The French Railways - 1969
By Paul Chimera, former publicity director of the original Salvador Dali Museum of Beachwood, Ohio
Noted by many as one of the most beautiful villages in France, Roussillon – a stop along the French National Railway system – was the subject of one of six magnificent posters Salvador Dali was commissioned to create to help promote train travel.
Dali was a master at synthesizing a variety of visual elements to create a work of art greater than the sum of its parts. ‘Roussillon’ is a dynamic print that embodies Dali’s penchant for melding different elements in order to create a spectacular final impression.
Against a solid red background in the upper half of the print, we see the appearance of Dali’s famous masterwork, whose stupefying title – usually shortened to simply “The Perpignan Railway Station” – is “Pop, Op, Yes-Yes, Pompier in which one can contemplate the two anguishing characters from Millet’s ‘Angelus’ in a state of atavistic hibernation, standing out of a sky which can suddenly burst into a Gigantic Maltese Cross, right in the heart of the Perpignan Railway Station, where the Whole Universe must begin to converge.”
Dali developed something of an obsession with the railway station at Perpignan, a town about 150 miles from Roussillon, and through which Dali and his artwork would travel each year, at summer’s end, to Paris and then on to the United States. It’s the closest French railway station to Dali and Gala’s villa in Port Lligat, Spain. In fact, a large image of Dali – jumping in the same manner in which he depicted himself in the painting – appears as a statue on the roof of the station.
A key and stunning part of the huge “Perpignan Railway” painting is the giant Maltese Cross – painted in luminous gold – that stretches to the edges of the canvas. Here, in the “Roussillon” print, Dali extends the four points of the cross beyond the confines of the painting’s edges, running infinitely off the edges of the print.
The Maltese Cross helps lend a 3-dimensional effect to the “Perpignan” painting, which captures Dali’s declaration that it was there – at the station in Perpignan—where he discovered how to achieve three-dimensionality in painting. And where he pronounced that Perpignan was the center of the universe!
The large block of red over which all this appears was inspired by Dali’s awareness of the unique characteristics of Roussillon itself, which is noted for its large ochre deposits found in the clay surrounding the village. Ochres are pigments ranging from yellow and orange to red. This region of France is also noteworthy because of the curious shape of rock formations found in the region – always appealing to Dali, who gained so much of his inspiration from topographical surroundings. In fact, the color of the rocks in Roussillon’s mines mirrors the colors of the houses in the village itself, lending a special charm and appeal to Roussillon. It may also be significant to note that Roussillon is known for its bullfighting – a spectacle Dali enjoyed (and which his wife Gala detested!).
It’s not difficult, therefore, to see why “Roussillon” is an important print from Dali’s diverse print-making catalog.
As we turn our attention now to the lower half of the print, we find a large butterfly, standing sentry-like, casting a heavy shadow on a barren plain – again picking up the yellow hues consistent with the ochre of the earth. Three other images of the insect appear on the “Perpignan Railway Station” painting itself. Butterflies are seen frequently in Dali’s works, most typically symbolizing metamorphosis or transformation. Interestingly enough, butterflies appear in four of the other five prints in The French Railways print suite.
The butterfly is widely known as a multicultural symbol of nature’s beauty, as well as a representation of ethereal, sensual and heavenly qualities. And it’s not coincidental that the wings of the butterfly resemble the structure of the Maltese Cross – both underscoring the beauty of symmetry, which appealed to Dali’s respect for a certain orderly precision. In fact, was it intentional that the space formed between the legs of the foreground butterfly (in which we see a human figure) essentially forms a triangle, similar to the shape of the four parts of the cross? That’s open to the viewer’s own interpretation – a fact that lends such interest and fascination to most any work by Salvador Dali.
What’s perhaps a surer bet is that Dali no doubt was also trying to link the lightness and free-spiritedness of the butterfly to travel by train, as France was improving its rail system with a faster and more comfortable experience. In fact, in 1976, Dali sort of re-created the original Roussillon poster, this time supplanting the four glowing beams of the Maltese Cross with a collage of four high-speed train locomotives.
As a print, “Roussillon” affords the collector the opportunity of enjoying Dali as synthesizer, taking an image of one of his most important masterworks and combining it with other elements to help tell a story and convey a mood. The result adds up to quintessential Dali – bold, different, dynamic.
All photographs here are the exclusive property of Ayan Gupta. The photographs may not be reproduced, copied, stored, manipulated projected, used or altered in any way, including without limitation any digitalization 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 permission of Ayan Gupta.
A seminal figure in the history of the Delta blues, Robert Johnson (1911-1938) synthesized the music of Delta blues pioneers such as Son House with outside traditions. He in turn influenced artists such as Muddy Waters and Elmore James. Johnson's compositions, notable for their poetic qualities, include the standards "Sweet Home Chicago" and "Dust My Broom." Johnson's mysterious life and early death continue to fascinate modern fans. He is thought to be buried in this graveyard.
There were three rumored cemeteries and no one was completely sure which one was the right one and the only clue offered by his death certificate was that he was buried at "Zion Baptist Church."
This cemetery is now recognized as the most probable final resting spot of the blues legend, based on her testimony and the relative vicinity to the residence at the Star of the West Plantation where Johnson died.
Multiple exposure
Three ways to synthesize highly creative images
The K-1 lets you capture the desired number of images — from two to 2,000 — to synthesize a single composite image, with three synthesis modes: average, additive and comparative brightness. In Live View shooting, the K-1 displays a translucent image of the already captured image on its LCD monitor, allowing you to make precise alignment of the images.
ABERDEEN PROVING GROUND, Md. (May 3, 2016) -- Army scientists are on the trail of new high-performing energetic materials.
Scientists at the U.S. Army Research Laboratory recently synthesized a new material called bis-isoxazole tetranitrate, or BITN, with potential applications in propulsion and lethality.
"BITN has a strong potential for improving insensitive munitions characteristics for gun and rocket propellants" said Dr. Jesse J. Sabatini, team leader of the Energetics Synthesis Team within ARL's Weapons and Materials Research Directorate.
Read more:
This 2-day workshop brought representatives from countries across Africa, Asia and Latin America in order to share their experiences in developing plans for the agriculture and livestock sector, in order to synthesize lessons learned and identify future research and capacity needs for national adaptation plans (NAPs). The workshop discussed lessons from the CCAFS’ report, “Meta Synthesis of National Adaptation Plans and Policies: West and East Africa and South Asia,” testing an analytical framework to measure country needs and progress. The key audience included national-level adaptation and agriculture decision-makers.
More information on the CCAFS report can be found here: New report highlights lessons from national adaptation planning .
Photo: C. Peterson (CCAFS)
This high temperature furnace (951 degrees C) is used to synthesize novel materials for solar cells and energy storage.
CRIAÇÃO DA NOVA CREATINA SYNTHESIZE®
CREATINA SYNTHESIZE promove o aumento de massa muscular, auxilia no aumento de força e energia também, resintetizando o ATP e hidratando os músculos. Fabricado com matéria -prima 100% importada.
Led by Theme "Long-term Adaptation", the CGIAR Research Program on Climate Change, Agriculture and Food Security (CCAFS) coordinated a side event on Agriculture in NAPs at the UNFCCC Conference of the Parties (COP19) in Warsaw, Poland.
The side event reviewed the NAP process for climate change adaptation in the agriculture sector by synthesizing the experiences of 10 countries from Africa, Asia and Latin America, drawn from a 2-day workshop on NAPs and agriculture held in the days leading up to COP 19.
Photos: C.Schubert (CCAFS)
Led by Theme "Long-term Adaptation", the CGIAR Research Program on Climate Change, Agriculture and Food Security (CCAFS) coordinated a side event on Agriculture in NAPs at the UNFCCC Conference of the Parties (COP19) in Warsaw, Poland.
The side event reviewed the NAP process for climate change adaptation in the agriculture sector by synthesizing the experiences of 10 countries from Africa, Asia and Latin America, drawn from a 2-day workshop on NAPs and agriculture held in the days leading up to COP 19.
Photos: C.Schubert (CCAFS)
Christine out side the Launch Pad Club in Albuquerque, New Mexico.USA.
Lloyd-Thrap-Creative-Photography
© 2010 Lloyd Thrap Photography for Halo Media Group
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Mankind and robots are becoming increasingly codependent, integrated, and, in some instances, interchangeable. Yet one powerful human quality remains impossible to replicate artificially: Emotion.
The Heart and The Hollow is a forced-perspective installation that explores the unique nature of human perception and emotion. Robots, with their increasing intelligence, can analyze and synthesize what they encounter, but only a living being can feel it.
Synthesize Her performs at The Holland Project in Reno.
www.facebook.com/SynthesizeHer
Photos by: www.TonyContini.com
The Killers Live In Manila. Battle Born Tour Asia. September 26, 2013. Smart Araneta Coliseum, Quezon City, Metro Manila, Philippines.
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Tange again - synthesizing European Gothic, Japanese shrines, and up-to-the-minute structural expressionism of the hyperbolic paraboloid school. The result is formal but quite effective, with the aid of a very strong material sensibility that finds a nice play between the shuttering of cast-in-place concrete and the corrugations of the stainless-steel cladding.
The new organ (2004) fits in harmoniously, but the same cannot be said for the godawful interrogation spotlight, which wrecks the intended drama of the top-lit spaces so thoroughly that it must be intended as a defense against itinerant photographers.
Led by Theme "Long-term Adaptation", the CGIAR Research Program on Climate Change, Agriculture and Food Security (CCAFS) coordinated a side event on Agriculture in NAPs at the UNFCCC Conference of the Parties (COP19) in Warsaw, Poland.
The side event reviewed the NAP process for climate change adaptation in the agriculture sector by synthesizing the experiences of 10 countries from Africa, Asia and Latin America, drawn from a 2-day workshop on NAPs and agriculture held in the days leading up to COP 19.
Photos: C.Schubert (CCAFS)
Taste is the last frontier of virtual reality. Taste is very difficult to display because it is a multi-modal sensation composed of chemical substance, haptics and sound. Taste perceived by the tongue can be measured using a biological membrane sensor. It can easily be synthesized from five basic tastes. Olfactory display is not popular but flavor can be easily displayed using a vaporizer. The unsolved problem in taste display is in the area of haptics. We developed a novel interface to display biting force. It is designed to fit the user’s mouth. The haptic device is composed of a 1DOF (degree-of-freedom) mechanism, employing four linkages. The shape of the linkage enables the application of force to the back teeth. *Food Simulator* generates force according to the captured force of real food. A film-like force sensor is used to measure the force with which real food is bitten. A force sensor is installed in the *Food Simulator* and the device is actuated using the force control method. The profile of the biting force of the real food is realized by force control of the device.
Credit: tom mesic
NYZ
CD :
NYZ
FLD RCDR
E219
Real and imaginary field recordings, compiled and synthesized by David Burraston at Noyzelab
Design by Allon Kaye
CD :
NYZ
MCRTNL
E220
A series of micro and macrotonal generative compositions recorded, compiled and synthesized by David Burraston
at Noyzelab
Design by Allon Kaye
Artwork :
Entr'acte
GMA Edition
Designed & Lettered in Orly Stencil by Allon Kaye
Use Hearing Protection
GMA
Led by Theme "Long-term Adaptation", the CGIAR Research Program on Climate Change, Agriculture and Food Security (CCAFS) coordinated a side event on Agriculture in NAPs at the UNFCCC Conference of the Parties (COP19) in Warsaw, Poland.
The side event reviewed the NAP process for climate change adaptation in the agriculture sector by synthesizing the experiences of 10 countries from Africa, Asia and Latin America, drawn from a 2-day workshop on NAPs and agriculture held in the days leading up to COP 19.
Photos: C.Schubert (CCAFS)