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This is not just any aspirin, this is aspirin synthesized from Salicylic acid and Acetic anhydride by yours truly!! :D
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.
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Attention is the highest form of prayer.
~ Nicholas Malebranche
Nicolas Malebranche (6 August 1638 – 13 October 1715) was a French Oratorian and rationalist philosopher. In his works, he sought to synthesize the thought of St. Augustine and Descartes, in order to demonstrate the active role of God in every aspect of the world. Malebranche is best known for his doctrines of Vision in God and Occasionalism.
Nicolas Malebranche was born in Paris in 1638, the youngest child of Nicolas Malebranche, secretary to King Louis XIII of France, and Catherine de Lauzon, sister of a Jean de Lauson, Governor of New France. Because of a malformed spine, Malebranche received his elementary education from a private tutor. He left home at the age of sixteen to pursue a course of philosophy at the Collège de la Marche, and subsequently to study theology at the Collège de Sorbonne, both colleges from the University of Paris. He eventually left the Sorbonne, having rejected scholasticism, and entered the Oratory in 1660. There, he devoted himself to ecclesiastical history, linguistics, the Bible, and the works of Saint Augustine. Malebranche was ordained a priest in 1664.
In 1664, Malebranche first read Descartes' Treatise on Man, an account of the physiology of the human body. Malebranche’s biographer, Father Yves André reported that Malebranche was moved by Descartes’ book because it allowed him to view the natural world without Aristotelian scholasticism. Malebranche spent the next decade studying the Cartesian system.
In 1674-75, Malebranche published the two volumes of his first and most extensive philosophical work. Entitled Concerning the Search after Truth. In which is treated the nature of the human mind and the use that must be made of it to avoid error in the sciences, the book laid the foundation for Malebranche’s philosophical reputation and ideas. It dealt with the causes of human error and on how to avoid such mistakes.
The arrays of nickel nanowires have been produced by electrodeposition of nickel into the pores of porous alumina membranes. The membrane has been resolved by chemical etching and free standing nanowires perpendicular to a substrate have been obtained. Due to their ferromagnetic properties, the nanowires have possible applications in high density magnetic recording media. The picture shows a top view of the nickel nanowire array.
Courtesy of Nina Winkler
Image Details
Instrument used: Nova Family
Magnification: 80000
Horizontal Field Width: 3.73 mikrometer
Vacuum: 3e-5
Voltage: 5 kV
Spot: 2
Working Distance: 5.0 mm
Detector: TLD
Douglas County, MN.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, Tiffen #12 filter. Worked up in Pixelbender and Photoshop.
For Zahrah Alghamdi, material and memory are inextricably intertwined. Many of her works involve large accumulations of material that seemingly layer the histories and cultures of the places from which they come. When Alghamdi, who grew up in the southwestern region of Saudi Arabia, visited Palm Springs, she was struck by the connection between the desert landscapes and architectures. For Desert X, she has created a sculpture that echoes and synthesizes the traditionally built forms from her country with the architectural organization she found in the Coachella Valley. The result takes the form of a monolithic wall comprised of stacked forms impregnated with cements, soils, and dyes specific to each region. It expresses a highly individualized language corresponding to feelings, emotions, and memories associated with place and time.
Zahrah Alghamdi (Al Bahah, Saudi Arabia, 1977) explores memory and history through traditional architecture in both medium and assemblage. Her laborious and meticulous process involves assembling particles of earth, clay, rocks, leather, and water. Her medium and process draw on the notion of “embodied memory” to translate and delineate themes of cultural identity, memory, and loss. Alghamdi represented Saudi Arabia in the 2019 Venice Biennale and participated in Desert X AlUla 2020.
ESPAÑOL
Para Zahrah Alghamdi, el material y la memoria están estrechamente entrelazados. Muchas de sus obras condensan grandes cúmulos de material cual si fuesen estratos superpuestos de historias y culturas de los sitios de donde provienen. Alghamdi creció en Al Bahah, en la región suroeste de Arabia Saudita, y cuando visitó Palm Springs quedó impresionada por la conexión entre los paisajes y las arquitecturas del desierto. Para Desert X, creó una escultura que sintetiza y hace eco a las formas de construcción tradicionales de su país con la organización arquitectónica que encontró en el Valle de Coachella. El resultado toma la forma de un muro monolítico compuesto por elementos apilados, impregnados de cemento, tierra y tinturas específicas de los procesos de edificación de cada región; expresando un lenguaje sumamente personal que atañe a sentimientos, emociones y recuerdos asociados a un lugar y a un tiempo.
Zahrah Alghamdi explora memoria e historia a través de la arquitectura tradicional como medio y montaje. Su trabajo y meticulosos procesos comprenden el ensamblaje de partículas de tierra, arcilla, rocas, cuero y agua. La noción de “memoria encarnada” sirve como base de producción y prácticas para traducir y delinear temas de identidad cultural, memoria y pérdida. Alghamdi representó a Arabia Saudita en la Bienal de Venecia 2019 y participó en Desert X AlUla 2020.
What Lies Behind the Walls
33.964250, -116.484250
Pierson Boulevard between Foxdale Drive and Miracle Hill Road, Desert Hot Springs
On view from sunrise to sunset
Generous support is provided by Ba’a Foundation.
We define ourselves through the objects we own. Using fire as a catalyst, Object Compression (OBCO) is a service that synthesizes the most valuable aspects of one’s objects, compressing them into a single essential item. The project challenges consumer culture, planned obsolescence and what is worth inheriting.
Photo shoot in Albuquerques Old Town. 04/27/2008.
Model: Johnnah.
© 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.
The red-vented bulbul (Pycnonotus cafer) is a member of the bulbul family of passerines. It is resident breeder across the Indian subcontinent, including Sri Lanka extending east to Burma and parts of Tibet. It has been introduced in many other parts of the world and has established itself in the wild on several Pacific islands including Fiji, Samoa, Tonga and Hawaii. It has also established itself in parts of the United Arab Emirates, Bahrain, the United States and Argentina. It is included in the list of the world's 100 worst invasive alien species.
Taxonomy and systematics:
The red-vented bulbul was originally described in the genus Turdus by Linnaeus in 1766. Several populations of this widespread species have been named as subspecies (or races). The type locality of Puducherry was designated by Erwin Stresemann.
Two formerly designated races, P. c. nigropileus in southern Burma and P. c. burmanicus of northern Burma, are now considered as hybrids.
Subspecies:
Eight subspecies are recognized:
Central Indian red-vented bulbul (P. c. humayuni) - Deignan, 1951: Found in south-eastern Pakistan, north-western and north-central India
Punjab red-vented bulbul (P. c. intermedius) - Blyth, 1846: Originally described as a separate species. Found in Kashmir and Kohat down to the Salt Range and along the western Himalayas to Kumaon.
P. c. bengalensis - Blyth, 1845: Originally described as a separate species. Found in the central and eastern Himalayas from Nepal to Assam, north-eastern India and Bangladesh
P. c. stanfordi - Deignan, 1949: Found in northern Burma and south-western China
P. c. melanchimus - Deignan, 1949: Found in south-central Burma and northern Thailand
P. c. wetmorei - Deignan, 1960: Found in eastern India
P. c. cafer - (Linnaeus, 1766): Found in southern India
P. c. haemorrhousus - (Gmelin, JF, 1789): Found in Sri Lanka.
Description:
The red-vented bulbul is easily identified by its short crest giving the head a squarish appearance. The body is dark brown with a scaly pattern while the head is darker or black. The rump is white while the vent is red. The black tail is tipped in white. The Himalayan races have a more prominent crest and are more streaked on the underside. The Race intermedius of the Western Himalayas has a black hood extending to the mid-breast. Population bengalensis of Central and Eastern Himalayas and the Gangetic plain has a dark hood, lacks the scale like pattern on the underside and instead has dark streaks on the paler lower belly. Race stanfordi of the South Assam hills is similar to intermedius. The desert race humayuni has a paler brown mantle. The nominate race cafer is found in Peninsular India. Northeast Indian race wetmorei is between cafer, humayuni and bengalensis. About 20 cm in length, with a long tail. Sri Lankan race haemorrhous (=haemorrhousus[5]) has a dark mantle with narrow pale edges. Race humayuni is known to hybridize with Pycnonotus leucogenys and these hybrids were once described as a subspecies magrathi marked by their pale rumps and yellow-orange or pink vents.[9] In eastern Myanmar there is some natural hybridization with Pycnonotus aurigaster.
P. leucogenys x P. c. humayuni hybrid (magrathi)
Sexes are similar in plumage, but young birds are duller than adults. The typical call has been transcribed as ginger beer but a number of sharp single note calls likened as pick are also produced. Their alarm calls are usually responded to and heeded by many other species of bird.
Melanistic as well as leucistic individuals have been noted. An individual with aberrant colour form was observed in Bhavans College Campus, Andheri, Mumbai.
Distribution and habitat:
This is a bird of dry scrub, open forest, plains and cultivated lands.[10] In its native range it is rarely found in mature forests. A study based on 54 localities in India concluded that vegetation is the single most important factor that determines the distribution of the species.
It has been introduced into Hawaii and Fiji. They were introduced to Samoa in 1943 and became common on Upolu by 1957. Red-vented bulbuls were introduced to Fiji around 1903 by indentured labourers from India. They established on the Tongan islands of Tongatapu and Niuafo'ou. They were introduced into Melbourne around 1917 but were not seen after 1942. They established in Auckland in the 1950s but were exterminated and another wild population that was detected was exterminated in 2006. In 2013 more were found, and authorities offered a $1000 reward for information that led to a bird's capture. They prefer the dry lowland regions in these introduced regions. They are considered as pests because of their habit of damaging fruit crops. Methiocarb and ziram have been used to protect cultivated Dendrobium orchids in Hawaii from damage by these birds. These birds learn to avoid the repellent chemicals. They can also disperse the seeds of invasive plants like Lantana camara and Miconia calvescens.
Behaviour and ecology:
Red-vented bulbuls feed on fruits, petals of flowers, nectar, insects and occasionally geckos. They have also been seen feeding on the leaves of Medicago sativa.
Red-vented bulbuls build their nests in bushes at a height of around 2–3 m (6.6–9.8 ft) two or three eggs is a typical clutch. Nests are occasionally built inside houses or in a hole in a mud bank. In one instance, a nest was found on a floating mat of Water hyacinth leaves and another observer noted a pair nesting inside a regularly used bus. Nests in tree cavities have also been noted.
They breed from June to September. The eggs are pale-pinkish with spots of darker red more dense at the broad end. They are capable of having multiple clutches in a year. Nests are small flat cups made of small twigs but sometimes making use of metal wires. The eggs hatch after about 14 days. Both parents feed the chicks and on feeding trips wait for the young to excrete, swallowing the faecal sacs produced. The pied crested cuckoo is a brood parasite of this species. Fires, heavy rains and predators are the main causes of fledgling mortality in scrub habitats in southern India.
Their vocalizations are usually stereotyped and they call throughout the year. However, a number of distinct call types have been identified including roosting, begging, greeting, flight and two kinds of alarm calls.
They are important dispersers of seed of plants such as Carissa spinarum.
The red-vented bulbul was among the first animals other than humans that was found to be incapable of synthesizing vitamin C. However a large number of birds were later found to likewise lack the ability to synthesize vitamin C.
Like most birds, these bulbuls are hosts to coccidian blood parasites (Isospora sp. while some bird lice such as Menacanthus guldum (Ansari 1951 Proc. Natl. Inst. Sci. India 17:40) have been described as ectoparasites.
Along with red-whiskered bulbuls this species has led to changes in the population dynamics of butterfly morphs on the island of Oahu in Hawaii. Here the population of white morphs of the Danaus plexippus butterfly have risen over a period of 20 years due to predation of the orange morphs by these bulbuls.
In culture:
In 19th-century India these birds were frequently kept as cage pets and for fighting especially in the Carnatic region. They would be held on the finger with a thread attached and when they fought they would seize the red feathers of the opponents.
Indians frequently tame it and carry it about the bazaars, tied with a string to the finger or to a little crutched perch, which is often made of precious metals or jade; while there are few Europeans who do not recollect Eha's immortal phrase anent the red patch in the seat of its trousers.
Geeta Chandran (Delhi) - Bharatnatyam - 20 October 2010 (Wednesday)
Geeta Chandran has been trained by eminent Bharatanatyam gurus, including Smt Swarna Saraswathy and Guru KN Dakshinamurthi Pillai. She has ably synthesized her eclectic training to present unique dance presentations in which she skilfully weaves abstract notions of joy, beauty, values, aspiration, myth and spirituality. Celebrated for her composite understanding of Bharatanatyam, Geeta is also an accomplished Carnatic vocalist. She is known for her work in television, film and theatre as also in dance education, activism and journalism. She is the founder-president of Natya Vriksha where she teaches and promotes Bharatanatyam. She is also the artistic director of the Natya Vriksha Dance Company, which has travelled all over the world with its superb dance presentations. Geeta has received many prestigious awards and fellowships, including the Padma Shri.
Presentation
In Revision, her presentation for the evening, Geeta Chandran and her Natya Vriksha Dance Company present a selection of classical numbers from the Bharatanatyam repertoire. It is suffused with the dancer’s focus on choreographic processes of intent, content and context. The intent is to celebrate the pristine classicism of Bharatanatyam. Through her Thanjavur bani, Geeta uses the adavu as the basis of her revision. This basic unit of Bharatanatyam is cast and recast in prismatic formations. The content remains the classical. The traditional Mallari, Alarippu, Padam and Tillana form the basis of Geeta’s revision. The context is what’s been altered. Since a solo dance is transformed into a group experience, the inter-body connections create new contexts for movement. There is also the context of the space in which the pieces are being performed. The grandeur of the dance has been re-contextualized for the Purana Qila monument.
When the protein HIV RT synthesizes a DNA molecule, a byproduct is released. Byproduct release is an important step in the enzyme operation and can be rate determining. The image shows the protein as a solid object, the DNA as a ribbon and sticks, and the byproduct pathway is illustrated with space-filling models. Image courtesy of the ICES Center for Computational Life Sciences and Biology.
For Zahrah Alghamdi, material and memory are inextricably intertwined. Many of her works involve large accumulations of material that seemingly layer the histories and cultures of the places from which they come. When Alghamdi, who grew up in the southwestern region of Saudi Arabia, visited Palm Springs, she was struck by the connection between the desert landscapes and architectures. For Desert X, she has created a sculpture that echoes and synthesizes the traditionally built forms from her country with the architectural organization she found in the Coachella Valley. The result takes the form of a monolithic wall comprised of stacked forms impregnated with cements, soils, and dyes specific to each region. It expresses a highly individualized language corresponding to feelings, emotions, and memories associated with place and time.
Zahrah Alghamdi (Al Bahah, Saudi Arabia, 1977) explores memory and history through traditional architecture in both medium and assemblage. Her laborious and meticulous process involves assembling particles of earth, clay, rocks, leather, and water. Her medium and process draw on the notion of “embodied memory” to translate and delineate themes of cultural identity, memory, and loss. Alghamdi represented Saudi Arabia in the 2019 Venice Biennale and participated in Desert X AlUla 2020.
ESPAÑOL
Para Zahrah Alghamdi, el material y la memoria están estrechamente entrelazados. Muchas de sus obras condensan grandes cúmulos de material cual si fuesen estratos superpuestos de historias y culturas de los sitios de donde provienen. Alghamdi creció en Al Bahah, en la región suroeste de Arabia Saudita, y cuando visitó Palm Springs quedó impresionada por la conexión entre los paisajes y las arquitecturas del desierto. Para Desert X, creó una escultura que sintetiza y hace eco a las formas de construcción tradicionales de su país con la organización arquitectónica que encontró en el Valle de Coachella. El resultado toma la forma de un muro monolítico compuesto por elementos apilados, impregnados de cemento, tierra y tinturas específicas de los procesos de edificación de cada región; expresando un lenguaje sumamente personal que atañe a sentimientos, emociones y recuerdos asociados a un lugar y a un tiempo.
Zahrah Alghamdi explora memoria e historia a través de la arquitectura tradicional como medio y montaje. Su trabajo y meticulosos procesos comprenden el ensamblaje de partículas de tierra, arcilla, rocas, cuero y agua. La noción de “memoria encarnada” sirve como base de producción y prácticas para traducir y delinear temas de identidad cultural, memoria y pérdida. Alghamdi representó a Arabia Saudita en la Bienal de Venecia 2019 y participó en Desert X AlUla 2020.
What Lies Behind the Walls
33.964250, -116.484250
Pierson Boulevard between Foxdale Drive and Miracle Hill Road, Desert Hot Springs
On view from sunrise to sunset
Generous support is provided by Ba’a Foundation.
Glacially eroded & striated columnar-jointed trachybasalt in the Pleistocene of California, USA.
Famous localities for seeing excellent columnar jointing include Giants Causeway (Ireland), Devils Tower (Wyoming, USA), and Devils Postpile (California, USA). 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 plan 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 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.
The top of the flow has been eroded by glaciers. Decent glacial striations and glacial polish are present in many places.
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.
Harrison Hou, ChE BSE Student, synthesizes nanobiotics, a new class of antibiotics created by the Kotov Research Group in the NCRC on North Campus of the University of Michigan in Ann Arbor, MI on May 3, 2017.
Photo: Joseph Xu/Michigan Engineering Senior Producer, University of Michigan
Cp2TiCl2, VOSO4(H20)2, Er2O3, Pd, I, In:
Samples of elements or interesting molecules that a collector presented to Ted for his classroom use.
Titanocene dichloride, Vanadyl sulfate, Erbium oxide, metallic Palladium, Metallic Indium and crystals of Iodine.
The Titanium and Vanadium organometallic compounds are used to donate Titanium or Vanadium atoms - presumably to synthesize other organometallic compounds, but presumably could be used to produce salts or other inorganic compounds as well.
For Zahrah Alghamdi, material and memory are inextricably intertwined. Many of her works involve large accumulations of material that seemingly layer the histories and cultures of the places from which they come. When Alghamdi, who grew up in the southwestern region of Saudi Arabia, visited Palm Springs, she was struck by the connection between the desert landscapes and architectures. For Desert X, she has created a sculpture that echoes and synthesizes the traditionally built forms from her country with the architectural organization she found in the Coachella Valley. The result takes the form of a monolithic wall comprised of stacked forms impregnated with cements, soils, and dyes specific to each region. It expresses a highly individualized language corresponding to feelings, emotions, and memories associated with place and time.
Zahrah Alghamdi (Al Bahah, Saudi Arabia, 1977) explores memory and history through traditional architecture in both medium and assemblage. Her laborious and meticulous process involves assembling particles of earth, clay, rocks, leather, and water. Her medium and process draw on the notion of “embodied memory” to translate and delineate themes of cultural identity, memory, and loss. Alghamdi represented Saudi Arabia in the 2019 Venice Biennale and participated in Desert X AlUla 2020.
ESPAÑOL
Para Zahrah Alghamdi, el material y la memoria están estrechamente entrelazados. Muchas de sus obras condensan grandes cúmulos de material cual si fuesen estratos superpuestos de historias y culturas de los sitios de donde provienen. Alghamdi creció en Al Bahah, en la región suroeste de Arabia Saudita, y cuando visitó Palm Springs quedó impresionada por la conexión entre los paisajes y las arquitecturas del desierto. Para Desert X, creó una escultura que sintetiza y hace eco a las formas de construcción tradicionales de su país con la organización arquitectónica que encontró en el Valle de Coachella. El resultado toma la forma de un muro monolítico compuesto por elementos apilados, impregnados de cemento, tierra y tinturas específicas de los procesos de edificación de cada región; expresando un lenguaje sumamente personal que atañe a sentimientos, emociones y recuerdos asociados a un lugar y a un tiempo.
Zahrah Alghamdi explora memoria e historia a través de la arquitectura tradicional como medio y montaje. Su trabajo y meticulosos procesos comprenden el ensamblaje de partículas de tierra, arcilla, rocas, cuero y agua. La noción de “memoria encarnada” sirve como base de producción y prácticas para traducir y delinear temas de identidad cultural, memoria y pérdida. Alghamdi representó a Arabia Saudita en la Bienal de Venecia 2019 y participó en Desert X AlUla 2020.
What Lies Behind the Walls
33.964250, -116.484250
Pierson Boulevard between Foxdale Drive and Miracle Hill Road, Desert Hot Springs
On view from sunrise to sunset
Generous support is provided by Ba’a Foundation.
Geeta Chandran (Delhi) - Bharatnatyam - 20 October 2010 (Wednesday)
Geeta Chandran has been trained by eminent Bharatanatyam gurus, including Smt Swarna Saraswathy and Guru KN Dakshinamurthi Pillai. She has ably synthesized her eclectic training to present unique dance presentations in which she skilfully weaves abstract notions of joy, beauty, values, aspiration, myth and spirituality. Celebrated for her composite understanding of Bharatanatyam, Geeta is also an accomplished Carnatic vocalist. She is known for her work in television, film and theatre as also in dance education, activism and journalism. She is the founder-president of Natya Vriksha where she teaches and promotes Bharatanatyam. She is also the artistic director of the Natya Vriksha Dance Company, which has travelled all over the world with its superb dance presentations. Geeta has received many prestigious awards and fellowships, including the Padma Shri.
Presentation
In Revision, her presentation for the evening, Geeta Chandran and her Natya Vriksha Dance Company present a selection of classical numbers from the Bharatanatyam repertoire. It is suffused with the dancer’s focus on choreographic processes of intent, content and context. The intent is to celebrate the pristine classicism of Bharatanatyam. Through her Thanjavur bani, Geeta uses the adavu as the basis of her revision. This basic unit of Bharatanatyam is cast and recast in prismatic formations. The content remains the classical. The traditional Mallari, Alarippu, Padam and Tillana form the basis of Geeta’s revision. The context is what’s been altered. Since a solo dance is transformed into a group experience, the inter-body connections create new contexts for movement. There is also the context of the space in which the pieces are being performed. The grandeur of the dance has been re-contextualized for the Purana Qila monument.
Experiment in drawing moving vector dots on a video vectorscope using an FPGA to synthesize a chrominance signal (using only the luminance channel) that is slightly off the colorburst frequency, causing the rotation. The synthetic D1 video signal is sent to an encoder chip to create the analog video signal.
Band: Mondo Vibrations
© 2011 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.
Geeta Chandran (Delhi) - Bharatnatyam - 20 October 2010 (Wednesday)
Geeta Chandran has been trained by eminent Bharatanatyam gurus, including Smt Swarna Saraswathy and Guru KN Dakshinamurthi Pillai. She has ably synthesized her eclectic training to present unique dance presentations in which she skilfully weaves abstract notions of joy, beauty, values, aspiration, myth and spirituality. Celebrated for her composite understanding of Bharatanatyam, Geeta is also an accomplished Carnatic vocalist. She is known for her work in television, film and theatre as also in dance education, activism and journalism. She is the founder-president of Natya Vriksha where she teaches and promotes Bharatanatyam. She is also the artistic director of the Natya Vriksha Dance Company, which has travelled all over the world with its superb dance presentations. Geeta has received many prestigious awards and fellowships, including the Padma Shri.
Presentation
In Revision, her presentation for the evening, Geeta Chandran and her Natya Vriksha Dance Company present a selection of classical numbers from the Bharatanatyam repertoire. It is suffused with the dancer’s focus on choreographic processes of intent, content and context. The intent is to celebrate the pristine classicism of Bharatanatyam. Through her Thanjavur bani, Geeta uses the adavu as the basis of her revision. This basic unit of Bharatanatyam is cast and recast in prismatic formations. The content remains the classical. The traditional Mallari, Alarippu, Padam and Tillana form the basis of Geeta’s revision. The context is what’s been altered. Since a solo dance is transformed into a group experience, the inter-body connections create new contexts for movement. There is also the context of the space in which the pieces are being performed. The grandeur of the dance has been re-contextualized for the Purana Qila monument.
Synthesized 110 VAC source and battery in box. Adjustable crystal controlled to 0.01 Hz.
IMG_0347SCrGCQ60_SN6_102mm_Scopes_Pinos
Loyola University New Orleans offers state-of-the-art chemistry labs where students learn through hands-on experiments. In the organic Chemistry classes students practice purifying, synthesizing, and identifing organic compounds. Some of the techniques practiced in this class are acid/base extraction, recrystallization, distillation, and organic reactions, among others.
Photo by Kyle Encar
Taken on April 14, 2015
Copyright 2015 Loyola University New Orleans
Excuse me for not have his infrastructure, to make stronger, more intense, more refined, synthesized and expressively charged scene!
The photographer is always just a symptom or litmus paper, nothing more.
These Seven Principles of Human Learning taken from the National Academies Press free ebook Learning and Understanding (2002).
"During the last four decades, scientists have engaged in research that has increased our understanding of human cognition, providing greater insight into how knowledge is organized, how experience shapes understanding, how people monitor their own understanding, how learners differ from one another, and how people acquire expertise. From this emerging body of research, scientists and others have been able to synthesize a number of underlying principles of human learning. This growing understanding of how people learn has the potential to influence significantly the nature of education and its outcomes."
Image licensed under Creative Commons by philipbouchard: www.flickr.com/photos/pbouchard/3196503910/