View allAll Photos Tagged system.
OM SYSTEM M.Zuiko Digital ED 90mm f3.5 Macro IS PRO
75 stacking images
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I do sell my Work so if you’re interested in any photos, you can buy it with a good price!
Send me an email: kietbull@gmail.com and tell me which photo(s) you want.
Buy me a coffee: paypal.me/KietHuynh490
© All rights reserved.
Improved bush beans perform better than local varieties, but delivery systems to get them to farmers are key. Visit: www.pabra-africa.org
Credit: ©2015CIAT/StephanieMalyon
Please credit accordingly and leave a comment when you use a CIAT photo.
For more info: ciat-comunicaciones@cgiar.org
The circulatory system is an organ system that passes nutrients (such as amino acids, electrolytes and lymph), gases, hormones, blood cells, etc. to and from cells in the body to help fight diseases, stabilize body temperature and pH, and to maintain homeostasis. This system may be seen strictly as a blood distribution network, but some consider the circulatory system as composed of the cardiovascular system, which distributes blood, and the lymphatic system, which returns excess filtered blood plasma from the interstitial fluid (between cells) as lymph.
www.geometricmedical.com/circulatory
For more info, visit: www.geometricmedical.com
For more 3D medical and scientific illustrations, visit: geometricmedical.com/medical-illustration
Ego Systems / 身份實例
White Tube Gallery at the Hong Kong Art Center
November 6 – December 5 2009
Opening November 6, 5 – 8 pm
Featuring the work of:
Lau Ying Kit (Rijk), Lam On Kit (Kristin), Chan Lap Hin (Leslie)
Yu Chin Wang (Steve), Chan Cheuk Kar (Carmen), Siu Tsz Kuen (Patrick)
Chan Yee Ting (Jill), Fan Chun Kit (Roy), Poon Kan Chi (Kit), Ng Yee Ling (Elaine), Leung Ka Po (Dez)
Curated by:
Andrew Guthrie, Tse Ming Chong
The artworks in this exhibition address the ambiguous nature of photographic evidence, which has become even more complicated in the digital era. Ego Systems consists of the apex of 3 different semester’s final assignments to Poly U students attending Andrew Guthrie’s Digital Imaging class at The Hong Kong Art School. Students were required to create an alternate, or “fake” identity, using themselves as the subject or model. These identities are presented in the form of a photographic narrative, whether through one or a series of images.
Despite the dubious nature of photographic truth, by using themselves, their faces and bodies, by becoming the subject matter for their “fake” identities, by putting themselves physically on the line, these students have approached the heights of artistic expression, where fiction is sometimes more real than reality.
Surprisingly, hoisting that baby up on to the cake board and riser went well. I only had a mild heart attack when I realized one of my wheel wells had collapsed a bit. Now on to make the tires.
Yesterday, i was invited to visit David McConville's amazing Geodome in his wonderful home here in West Asheville. The inside of the dome was projected, from a single macbook, a map of our known space outside Earth. The progression of moving back from the earth to the edge of the universe was a process - complete with informative monologue from David - was a total mind blower.
The progression is in the next 10 photographs, but the scale and gorgeousness of the entire process was amazing.
This is our solar system with the paths (relative in size) of the inner planets, outer planets and that blue thing we call pluto.
closeup showing Z's work desk, which has now changed to have the infant seat removed and the desk surface solid for drawing and writing, and my shelves of curriculum, and materials, and of course our workbox system.
These are the signs PapaTom built for the Cosmos Research Center Solar System Model. The scale is for the sun to be 1" in diameter, and Pluto to be 354 feet away. Alpha Centauri, the nearest star, would be 435 miles away.
A 4 panel mosaic of the full (almost!) Moon.
Data:
One movie with 800 frames @ISO 800 for each panel.
Equipment:
SW. 150mm f/5
Canon Rebel XS (modded)
NEQ6 Pro
Software:
BackyardEOS
RegiStax 6
iMerge
Adobe Photoshop CS5
Location: Santa Rita do Passa Quatro - Brazil
The transparency of zebrafish larvae makes it possible to use high-resolution imaging to visualize in detail the entire vasculature, or system of blood vessels. Credit: NICHD
One of the protective systems of a fortress gun 93 L52, caliber 15.5 cm. It disguises the thermal image with a water curtain. The chain curtain was already there at older cannons which are disused. Due to the ladder rungs, you can guess how big such a thing is. These facilities are still operational and classified, therefore no geotags. Rhine Valley, Switzerland, Feb 14, 2011.
Update: The guns were shut down in fall 2011, but not declassified.
2 L'ART EST IDEOLOGIQUE
L'Histoire de la peinture européenne démontre une vérité : l'Art est fondamentalement idéologique et politique. L'Art est idéologique c'est à dire qu'il est le reflet, l'expression, du système de valeurs qui façonne une société donnée à une époque donnée. L'Art est politique car ce système de valeurs est toujours imposé par les puissances gouvernantes de l'époque. Ces puissances gouvernantes ne se confondent pas nécessairement avec les chefs politiques au pouvoir. Ce sont des Influences qui débordent souvent le cercle étroit des dirigeants manifestes, les politiciens.
L'Art de L'Egypte était clairement le reflet des croyances religieuses de l'époque et du pays.
L'art Gréco-Romain est commandé par sa vision d'un monde où l'Harmonie universelle dépend du repect par les Dieux et par les hommes, chacuns à leurs places, des règles qui régissent les grands équilibres naturels.C'est cette croyance en une loi d'Harmonie universelle qui explique l'architecture, la sculpture et la peinture grecque et romaine.
Un des premiers commandements de l'Islam est la condamnation de la représentation de Dieu et son art pictural géométrique et abstrait est le reflet de cette interdiction. Il n'existe pas d'art contre les croyances ou les incroyances des hommes.
Une des grandes guerres civiles dans l'Empire Byzantin a été de savoir si on représenterait ou non Dieu, la Vierge. C'est la crise iconoclaste qui s'achève par la victoire des Images.
De 500 à 1500 en Europe l'Art a été presque exclusivement catholique, ou orthodoxe à l'Est. Pendant Mille ans la peinture et la sculpture européenne ont été le résultat de cette idéologie religieuse.
Au 15è siècle en Italie apparaîssent de nouveaux thèmes : La religion catholique n'est plus l'unique inspiratrice de la peinture et de la sculpture européenne. La Mythologie et l'Histoire de la Grèce et de Rome fournissent de nouveaux thèmes à l'art européen, qui retrouve les règles stylistiques en vigueur pendant l'Antiquité. Notamment une représentation naturaliste et réaliste du monde.
Le premier acte des protestants dans toute l'Europe a été de détruire les églises et les oeuvres d'art catholiques. De nouvelles valeurs, plus profanes et matérialistes se sont alors mises en place.
C'est au 17è siècle aux Pays Bas protestants que devient totalement dominante une peinture d'esprit non religieux, laïque, qui privilégie la représentation de la nature, les natures mortes et les portraits. Les représentations religieuses deviennent minoritaires dans cet art.
Cette évolution va gagner l'Europe du sud ou celle germanique et slave, mais beaucoup plus lentement au cours du 18è et du 19è siècle.
Les communistes de tous les régimes, de Lénine à Mao, ont condamné l'art dégénéré des capitalistes dès les années vingt du 20è siècle..
Hitler a fait de même dès les années 1930. Ces régimes totalitaires et génocidaires n'ont été créateurs d'aucune manifestation artistique notable. Le désert artistique est un signe très clair.
Les Démocraties ont en réponse imposé idéologiquement et politiquement leur art.
C'est très exactement ce que signifie la création du MOMA, en 1929, à New York par les Rockefeller.
C'est très exactement aussi ce que signifie, la construction à Paris de la Pyramide dans la Cour du Louvre et de l'Arche dans la perspective des Champs Elysées à la Défense : la République française impose sa religion maçonnique sur l'axe majeur de sa capitale.
Il ne faut pas confondre l'Art Moderne et l'Art Contemporain. Ils ne reflètent pas du tout les mêmes circonstances politiques et idéologiques. La continuité n'est qu'apparente, ou propagande.
L'Art Moderne, de 1850 à 1940-1950, en dates grosses, est le reflet d'une période historique où les idéologies les plus diverses coexistent ou s'affrontent en Europe. C'est ce qui explique l'étonnante diversité et l'esprit de recherche de nouvelles esthétiques qui caractérise cet art. Sauf à partir de 1917 en URSS et de 1930 en Allemagne. Les artistes fuient alors ces régimes.
L'Art Contemporain, en peinture et en sculpture, s'impose dans les cercles officiels, à partir des années 1950. Le monolithisme de cet art du Laid et du Non Sens est le reflet du triomphe progressif de l'Idéologie du Nouvel Ordre Mondial.
ART IS IDEOLOGICAL.
The history of European painting shows a truth: Art is fundamentally ideological and political. Art is ideological ie it is the reflection, the expression, of the value system which shapes a society at a given time. Art is political because this system of values is always imposed by the ruling powers of the time. The governing powers do not necessarily overlap with the political leaders in power. These are Influences that often extend beyond the narrow circle of manifest leaders, the politicians.
The Art of Ancient Egypt was clearly reflect the religious beliefs of that time and of that country.
The Greco-Roman art is driven by its vision of a world where universal Harmony depends on the respect by the gods and men, each in his place, the rules that govern the great natural balances. It is this belief in a universal Harmony law that explains the architecture, sculpture and painting of Greek and Roman
One of the first commandments of Islam, is the condemnation of the representation of God, and his geometric and abstract pictgorial art is the reflection of this prohibition. There is no art against the beliefs or unbelief of men.
A major civil war in the Byzantine Empire has been to know whether, yes or no, the art would represent God, the Virgin .... This is the iconoclastic crisis, which ended with the victory of Images
From 500 tou 1500, Art in Europe has been almost exclusively Catholic, or Orthodox in the east. During thousand years painting and European sculpture was the result of this religious ideology.
In the 15th century in Italy appear new artistic themes: Catholicism is not the only inspiration for painting and European sculpture. Mythology and history of Greece and Rome provide new themes to European art, which applies to new, stylistic rules applicable during Antiquity. Especially a naturalistic and realistic representation of the world.
The first act of the Protestants in Europe has been to destroy Catholic churches and works of art. New values, more secular and materialistic were then implemented. It's in the 17th century, in the Netherlands Protestants, that becomes completely dominant a spirit non religious painting, secular painting, which favors the representation of the nature, still lifes, and portraits. Religious representations become a minority in this art.
This evolution is going to win Southern Europe or the Germanic and Slavic, but much more slowly during the 18th and 19th century.
The Communists of all regimes, from Lenin to Mao condemned degenerate art of the capitalists in the twenties of the 20th century ..
Hitler did the same in the 1930s.
These totalitarian and genocidal regimes have been no notable creators of artistic manifestation. The artistic desert is a very clear sign.
Democracies have in response, imposed ideologically and politically their art
This is exactly what it means the creation of the MOMA in 1929 in New York by the Rockefellers.
This is also exactly what means, the construction of the Pyramid in Paris in the courtyard of the Louvre and the Arch in view of the Champs Elysées, to the Defense: the French Republic imposes his Masonic religion on the major axis of its capital.
We must not confuse the Modern and the Contemporary Art. They do not reflect at all the same political and ideological circumstances. Continuity is only appearance, or propaganda.
Modern Art from 1850 to 1940 to 1950, in large dates, is a reflection of a historical period in which the most diverse ideologies coexist or confront each other in Europe. This is what explains the astonishing diversity and the spirit of seeking the new aesthetics that characterizes this art. Except from 1917 in the USSR, and from 1930 in Germany. Artists then flee these political regimes.
The Contemporary Art in painting and sculpture, is essential from 1950. The monolithic of this art of the Ugly and Non Sense is a reflection of the progressive triumph of the ideology of the New World Order.
"Take us to your leader!"
Please view on black. Press "L"
Nikon D300, Micro-Nikkor 105mm f/2.8D, SB-600, SB-800 (flashing thru holes in gaffer tape), Hoya Cross Screen, Nikon CLS, yellow "gel" on on-board flash.
SOOC, no post processing.
All sizes please!
This an illustration of the firing mechanism I implemented in my DX CSWS, called 2DBolt. Main advantage of this system, is that there is more room for the barrel, without making the whole gun longer.
2DBolt:
-2 parts of instead of one are moving
-bolt moves in 2 dimensions (along the 'barrel line' and up/down)
Because of the fragility, system is isolated from the environment - caseless ammo eliminates need for ejection port and magazine with piston (see notes) seal it completely.
Arrows shows the resemblance to a bolt-action system (also, it is possible that 2DBolt is moved with a lever, not with electronics - then the arrows show the moving pattern)
If you wan't, you can use it, just credit me for the idea.
Exploring the l-system. Tryin' a bunch of axiom & replacement rules.
Made with Processing.
Basic Code:
Financing the Net-Zero Transition
Antoni Ballabriga, Global Head, Responsible Business, BBVA, Spain; John Colas, Partner; Vice-Chairman, Financial Services, Americas, Oliver Wyman Group (MMC), USA; Christian Deseglise, Group Head, Sustainable Infrastructure and Innovation, HSBC, United Kingdom; Torben Möger Pedersen, Chief Executive Officer, PensionDanmark, Denmark; Matthew Blake, Head of Shaping the Future of Financial and Monetary Systems, World Economic Forum. Copyright: World Economic Forum/Jeffery Jones
The Alaska Airlines and Horizon Air route systems on 7 June 1987. The map shows the two route networks six months after Alaska bought Horizon for $68 million in December 1986.
The map is an early example of the concept that was used for the standard Alaska and Horizon map throughout the 1990s, including displaying routes operated by Alaska and Horizon with different colours and denoting connecting cities like half-moon cookies with each half the colour of the airlines’ routes.
For example, here is the Alaska and Horizon route system in 1992 and again in 1999. The dual-colour map was dropped for one without routes in 2000 and an early version of the current map adopted in 2002.
Alaska operated 40 aircraft, including four 727-100s, 21 727-200s, six 737-200s and nine MD-80s, on 7 June 1987, Flightglobal’s Fleet Analyzer shows. Horizon Air operated 46 aircraft, including 10 Bombardier Dash 8-100s, seven Fairchild F-27s, 27 Fairchild Metro IIIs and two Fokker F28-1000s.
For those interested, this is our rain barrel system. We took video to explain it, haven't gotten around to editing it yet.
We have 7-55 gallon barrels all hooked together. They fill at the same time and drain together. We have one spigot to fill watering cans and a pump with another spigot for use with the hose or sprinkler.
There's an overflow as well, they're all hooked together and overflow into the downspout if they're full. We have a clear tube at the end so we can see how much water we have. The system is also easily expandable if we want to add more barrels, we think we can fit 7-10 more across the back of the garage.
One of the best things about this system is the cost. We only spent about $120 for the entire system (including deck). The deck was built with lumber we removed from the deck on our house, we wanted a smaller sized deck on the house. The barrels are food grade plastic barrels and cost us only $10 each (you want to make sure you don't get barrels that had chemicals in them). We spent about $50 on other materials, posts, PVC (we also had some of that sitting around that we used up).
I once recommended a blog by Charlotte Pell. Unfortunately this is off-line. So we've lost her free software: the Strapline-O-Matic for local councils. It helped to generate impressive, amusing but completely useless straplines.
I wrote to my former Haringey Labour Group colleague, former councillor Joe D. Goldberg - then in charge of the budget - suggesting this money saving tool at a time of severe financial austerity.
In seconds Charlotte Pell's entirely free Strapline-O-Matic could produce up to 10,000 slogans for projects, posters, pledges, election leaflets etc.
Below, going forward on a journey ahead of the curve with the narrative on board, are just four typical examples of the creative output of this brilliant app. It took just a few clicks of a mouse button.
► Generating transformational written plans in partnership
► Developing brighter people for the future
► Changing positive communities that matter
► Realising achievements together for everyone
___________________________________________
§ Many thanks to Charlotte Pell. I always looked forward to new pages of her blog which brightened the day.
§ Sir Stuart Lipton could have saved himself and dozens of other people hundreds of hours of work; and not wasted many thousands of pounds of public money in producing his multipage report: "It's an ill riot that blows no property developers any good."
Using the Strapline-O-Matic generator and without stepping foot in Tottenham, Sir Stu could have quickly and economically produced a few fresh, witty succinct lines.
§ 31 May 2018. My comments on this page edited to remove broken links.
A Pair of Custom-Made (& designed)
brackets "hold" this art suspended /parallel
about 3 inches away from
the Wenge paneled Walls
(which they did not want to
put nails into to hang
their Art! ;)
The success of oyster hatcheries depends on good water quality each year. Virginia Sea Grant collaborators at the Virginia Institute of Marine Science Eastern Shore Lab and Virginia Tech Seafood Agriculture Research and Extension Center are developing a closed aquaculture system that will allow hatcheries to reuse water and protect their larvae from dips in water quality.
From left to right: Director of the Virginia Institute of Marine Science’s Eastern Shore Laboratory, Dick Snyder, and Chris Bentley, Seawater Lab Manager for VIMS Eastern Shore Lab discuss the closed aquaculture system pictured here on June 25, 2019. (Photo by Aileen Devlin | Virginia Sea Grant)