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Most of the Latino and black people who are struggling to get food, clothes and shelter in the hood are so concerned with that, that philosophising about freedom and socialist democracy is usually unfortunately beyond their rationale. They don't realize that America can't exist without separating them from their identity, because if we had some sense of who we really are, there's no way in hell we'd allow this country to push it's genocidal consensus on our homelands. This ignorance exists, but it can be destroyed.
People talk about change and working within the system to achieve that. The problem with always being a conformist is that when you try to change the system from within, it's not you who changes the system; it's the system that will eventually change you. There is usually nothing wrong with compromise in a situation, but compromising yourself in a situation is another story completely, and I have seen this happen long enough in the few years that I've been alive to know that it's a serious problem. Latino America is a huge colony of countries whose presidents are cowards in the face of economic imperialism. You see, third world countries are rich places, abundant in resources, and many of these countries have the capacity to feed their starving people and the children we always see digging for food in trash on commercials. But plutocracies, in other words a government run by the rich such as this one and traditionally oppressive European states, force the third world into buying overpriced, unnecessary goods while exporting huge portions of their natural resources.
I'm quite sure that people will look upon my attitude and sentiments and look for hypocrisy and hatred in my words. My revolution is born out of love for my people, not hatred for others.
You see, most of Latinos are here because of the great inflation that was caused by American companies in Latin America. Aside from that, many are seeking a life away from the puppet democracies that were funded by the United States; places like El Salvador, Guatemala, Peru, Colombia, Nicaragua, Ecuador and Republica Dominicana, and not just Spanish-speaking countries either, but Haiti and Jamaica as well.
As different as we have been taught to look at each other by colonial society, we are in the same struggle and until we realize that, we'll be fighting for scraps from the table of a system that has kept us subservient instead of being self-determined. And that's why we have no control over when the embargo will stop in Cuba, or when the bombs will stop dropping in Vieques.
But you see, here in America the attitude that is fed to us is that outside of America there live lesser people. "Fuck them, let them fend for themselves." No, Fuck you, they are you. No matter how much you want to dye your hair blonde and put fake eyes in, or follow an anorexic standard of beauty, or no matter how many diamonds you buy from people who exploit your own brutally to get them, no matter what kind of car you drive or what kind of fancy clothes you put on, you will never be them. They're always gonna look at you as nothing but a little monkey. I'd rather be proud of what I am, rather than desperately trying to be something I'm really not, just to fit in. And whether we want to accept it or not, that's what this culture or lack of culture is feeding us.
I want a better life for my family and for my children, but it doesn't have to be at the expense of millions of lives in my homeland. We're given the idea that if we didn't have these people to exploit then America wouldn't be rich enough to let us have these little petty material things in our lives and basic standards of living. No, that's wrong. It's the business giants and the government officials who make all the real money. We have whatever they kick down to us. My enemy is not the average white man, it's not the kid down the block or the kids I see on the street; my enemy is the white man I don't see: the people in the white house, the corporate monopoly owners, fake liberal politicians those are my enemies. The generals of the armies that are mostly conservatives those are the real Mother-Fuckers that I need to bring it to, not the poor, broke country-ass soldier that's too stupid to know shit about the way things are set up.
In fact, I have more in common with most working and middle-class white people than I do with most rich black and Latino people. As much as racism bleeds America, we need to understand that classism is the real issue. Many of us are in the same boat and it's sinking, while these bougie Mother-Fuckers ride on a luxury liner, and as long as we keep fighting over kicking people out of the little boat we're all in, we're gonna miss an opportunity to gain a better standard of living as a whole.
In other words, I don't want to escape the plantation I want to come back, free all my people, hang the Mother-Fucker that kept me there and burn the house to the god damn ground. I want to take over the encomienda and give it back to the people who work the land.
You cannot change the past but you can make the future, and anyone who tells you different is a Fucking lethargic devil. I don't look at a few token Latinos and black people in the public eye as some type of achievement for my people as a whole. Most of those successful individuals are sell-outs and house Negros.
But, I don't consider brothers a sell-out if they move out of the ghetto. Poverty has nothing to do with our people. It's not in our culture to be poor. That's only been the last 500 years of our history; look at the last 2000 years of our existence and what we brought to the world in terms of science, mathematics, agriculture and forms of government. You know the idea of a confederation of provinces where one federal government controls the states? The Europeans who came to this country stole that idea from the Iroquois LEAGUE. The idea of impeaching a ruler comes from an Aztec tradition. That's why Montezuma was stoned to death by his own people 'cause he represented the agenda of white Spaniards once he was captured, not the Aztec people who would become Mexicans.
So in conclusion, I'm not gonna vote for anybody just 'cause they black or Latino they have to truly represent the community and represent what's good for all of us proletariat.
Porque sino entonces te mando por el carajo cabron gusano hijo de puta, seramos libre pronto, viva la revolucion, VIVA LA REVOLUCION!
Stamping with Bibiana: Tutorial How to Chalkboard using Wood Stamps by memory box, details at the blog;
stampingwithbibiana.blogspot.com/2015/04/tutorial-how-to-...
Uganda People's Defense Force (UPDF) logisticians practice palletizing techniques during a hands-on segment of Uganda ADAPT 2010, a mentoring program conducted in Entebbe, Uganda, that resulted in certifying 25 soldiers as C-130 aircraft load planners.
U.S. Army photo by Gordon Christensen
A U.S. Army Africa (USARAF) organized Africa Deployment Assistance Partnership Team (ADAPT) recently trained, and for the first time ever, certified 25 soldiers of the Uganda People’s Defense Force (UPDF) as C-130 aircraft load planners in Entebbe, Uganda.
A five-person team, led by Gordon Christensen of Army Africa’s G-4 Mobility Division, completed Phase III training with UPDF soldiers Aug. 27 in Entebbe, Uganda, said John Hanson, chief of the G-4 Policy and Programs Branch.
“This was the first actual air load certification we’ve done, of all the previous ADAPT engagements,” Hanson said. “That’s what makes it unique.”
Two weeks of classroom instruction and hands-on training enabled 25 of 31 students to earn U.S. Air Force Air Mobility Command Form 9 certification, significantly augmenting the Uganda land force’s air deployment capability, while developing greater interoperability with U.S. military forces, Hanson said.
The ADAPT program, developed to enhance the force projection capabilities of African militaries, is managed by the USARAF G-4 staff. Its aim is to bridge the gap between limited deployment capacity and the need to provide forces in support of peacekeeping or humanitarian relief operations, Hanson said.
“We’re building capacity for people to deploy, to do their own missions,” he said.
Even when the training doesn’t lead to actual U.S. Air Force certification, as it did this time in Uganda, it contributes to an enhanced deployment capacity for the land force involved, Hanson said.
“That’s the intent. They can’t do the certification, but they can continue to train their own people. Then we back off and they continue to do that,” he said.
The program is a Title 22 tactical logistics engagement funded by the U.S. Department of State, and focuses on African countries that contribute troops to peacekeeping operations, Hanson said.
Training is executed in four installments in order to create a long-term, phased approach to building deployment capacity, Hanson said. Instructors take students from a general orientation to tactical deployment principles to an advanced level of practical proficiency.
Instructors for the UPDF course were sourced using the Request For Forces (RFF) process, Hanson said.
Christensen was accompanied U.S. Army Capt. Jedmund Greene of 21st Theater Support Command’s 16th Sustainment Brigade, based in Kaiserslautern, Germany, and three Air Force noncommissioned officers: Tech. Sgt. Venus Washington, Robbins Air Force Base, Ga.; Tech. Sgt. Byran Quinn, Pope Air Force Base, N.C.; and Senior Master Sgt. Anthony D. Tate of the Illinois Air National Guard.
“The training helped to strengthen the relationship with our Ugandan partners, and also helped them build a self-sustaining deployment capacity,” Greene said. “I hope 21st TSC can increase its support to USARAF logistics theater security cooperation events in the future.”
Army Africa’s G-4 staff is presently working to synchronize ADAPT with the Africa Contingency Operations Training and Assistance (ACOTA) program. A proof of concept joint training was conducted with ACOTA in Rwanda earlier this year, combining tactical- and support-staff training in logistics with the more complex operational techniques of force deployment and mobility, Hanson said.
The Rwanda training demonstrated the feasibility of combining available U.S. government resources to achieve the most efficient and focused effort to advance common foreign policy objectives with U.S. partners in Africa, he said.
To date, ADAPT missions have been funded for eight African countries. Previous training sessions have been conducted in Rwanda, Ghana and Burkina Faso as well as Uganda, and the number is likely to grow in coming years, Hanson said.
“The programs were identified as being of interest to several other countries during the Army Africa Theater Army Security Cooperation Conference, held in Vicenza in August,” Hanson said.
The next planned ADAPT mission is for Phase I training in Botswana, scheduled for the first quarter of 2011, he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
Ikat, or ikkat, is a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.
In ikat the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern. The yarns are then dyed. The bindings may then be altered to create a new pattern and the yarns dyed again with another colour. This process may be repeated multiple times to produce elaborate, multicolored patterns. When the dyeing is finished all the bindings are removed and the yarns are woven into cloth. In other resist-dyeing techniques such as tie-dye and batik the resist is applied to the woven cloth, whereas in ikat the resist is applied to the yarns before they are woven into cloth. Because the surface design is created in the yarns rather than on the finished cloth, in ikat both fabric faces are patterned.
A characteristic of ikat textiles is an apparent "blurriness" to the design. The blurriness is a result of the extreme difficulty the weaver has lining up the dyed yarns so that the pattern comes out perfectly in the finished cloth. The blurriness can be reduced by using finer yarns or by the skill of the craftsperson. Ikats with little blurriness, multiple colours and complicated patterns are more difficult to create and therefore often more expensive. However, the blurriness that is so characteristic of ikat is often prized by textile collectors.
Ikat is produced in many traditional textile centres around the world, from India to Central Asia, Southeast Asia, Japan (where it is called "kasuri"), Africa and Latin America. Double ikats - in which both the warp and weft yarns are tied and dyed before being woven into a single textile - are relatively rare because of the intensive skilled labour required to produce them. They are produced in Okinawa islands of Japan, the village of Tenganan in Indonesia, and the villages of Puttapaka and Bhoodan Pochampally in Telangana and Gujarat in India.
TYPES
In warp ikat it is only the warp yarns that are dyed using the ikat technique. The weft yarns are dyed a solid colour. The ikat pattern is clearly visible in the warp yarns wound onto the loom even before the weft is woven in. Warp ikat is, amongst others, produced in Indonesia; more specifically in Kalimantan, Sulawesi, and Sumatra by respectively the Dayaks, Torajans and Bataks.
In weft ikat it is the weaving or weft yarn that carries the dyed patterns. Therefore, the pattern only appears as the weaving proceeds. Weft ikats are much slower to weave than warp ikat because the weft yarns must be carefully adjusted after each passing of the shuttle to maintain the clarity of the design.
Double Ikat is a technique in which both warp and the weft are resist-dyed prior to weaving. Obviously it is the most difficult to make and the most expensive. ouble ikat is only produced in three countries: India, Japan and Indonesia. The double ikat made in Patan, Gujarat in India is the most complicated. Called "patola," it is made using fine silk yarns and many colours. It may be patterned with a small motif that is repeated many times across the length of a six-meter sari. Sometimes the Patan double ikat is pictorial with no repeats across its length. That is, each small design element in each colour was individually tied in the warp and weft yarns. It's an extraordinary achievement in the textile arts. These much sought after textiles were traded by the Dutch East Indies company for exclusive spice trading rights with the sultanates of Indonesia. The double ikat woven in the small Bali Aga village, Tenganan in east Bali in Indonesia reflects the influence of these prized textiles. Some of the Tenganan double ikat motifs are taken directly from the patola tradition. In India double ikat is also woven in Puttapaka, Nalgonda District and is called Puttapaka Saree. In Japan, double ikat is woven in the Okinawa islands where it is called tate-yoko gasuri.
ETYMOLOGY
Ikat is an Indonesian language word, which depending on context, can be the nouns: cord, thread, knot and the finished ikat fabric as well as the verbs "to tie" or "to bind". It has a direct etymological relation to Javanese language of the same word. Thus, the name of the finished ikat woven fabric originates from the tali (threads, ropes) being ikat (tied, bound, knotted) before they are being put in celupan (dyed by way of dipping), then berjalin (woven, intertwined) resulting in a berjalin ikat- reduced to ikat.
The introduction of the term ikat into European language is attributed to Rouffaer. Ikat is now a generic English loanword used to describe the process and the cloth itself regardless of where the fabric was produced or how it is patterned.
In Indonesian the plural of ikat remains ikat. However, in English a suffix plural 's' is commonly added, as in ikats. This is true in other some other languages. All are correct.
DISTRIBUTION
Ikat is a weaving style common to many world cultures. It is probably one of the oldest forms of textile decoration. However, it is most prevalent in Indonesia, India and Japan. In Central and South America, ikat is still common in Argentina, Bolivia, Ecuador, Guatemala and Mexico.
In the 19th century, the Silk Road desert oases of Bukhara, Samarkand, Hotan and Kashgar (in what is now Uzbekistan and Xinjiang in Central Asia) were famous for their fine silk Uzbek/Uyghur ikat.
India, Japan, Indonesia and many other Southeast Asian nations including Cambodia, Myanmar, Philippines and Thailand have weaving cultures with long histories of ikat production.
Double ikat weaving is still found in India, Japan and Indonesia. In Indonesia, it is still woven in Bali, Java, Kalimantan or Borneo and Sumatra.
HISTORY
As textiles do not last well through history, scholars have so far been unable to determine where the technique of ikat originated. Nevertheless, some parts of Asia demonstrates strong ikat traditions which suggest its possible origin; they are Maritime Southeast Asia, Indian subcontinent and Central Asia. However, it probably developed in several different locations independently, since ikat was known to be produced in several pre-Columbian Central and South American cultures.
The term "ikat" has Indonesian origin, and it was introduced into European textile vocabulary back in early 20th century, when the Dutch scholars begin to study the rich textile traditions of East Indies archipelago (today Indonesia).
Uyghurs call it atlas (in IPA [ɛtlɛs]) and use it only for woman's clothing. The historical record indicates that there were 27 types of atlas during Qing occupation. Now there are only four types of Uyghur atlas remaining: Qara-atlas (Darayi, black ikat used for older women's clothing), Khoja'e-atlas (yellow, blue, purple ikat used for married women), Qizil-atlas (red ikat used for girls) and Yarkant-atlas (Khan-atlas). Yarkant-atlas has more diverse styles; during Yarkant Khanate (16th century), there ten different styles of Yarkant-atlas.
PRODUCTION
WARP IKAT
Ikat created by dyeing the warp are simpler to make than either weft ikat or double ikat. First the yarns - cotton, silk, wool or other fibres - are wound onto a frame. Then they are tied into bundles. The bundles may be covered with wax, as in batik. (However, in making batik, the craftsperson applies the resist to the finished cloth rather than to the yarns to be woven.) The warp yarns are then wrapped tightly with thread or some other dye-resistant material to prevent unwanted dye permeation. The procedure is repeated, depending on the number of colours required to complete the design. Multiple coloration is common, requiring multiple rounds of tying and dyeing. The newly dyed and thoroughly washed bundles are wound onto the loom to produce the warp (longitudinal yarns). Warp threads are adjusted for the desired alignment for precise motifs.
Some ikat traditions, such as Central Asia's, embrace a blurred aesthetic in the design. Other traditions favour a more precise and more difficult to achieve refinement in the placement of the ikat yarns. South American and Indonesian ikat are known for a high degree of warp alignment. Weavers must adjust the warp repeatedly to maintain pattern alignment.
Patterns result from a combination of the warp dye and the weft thread colour. Some warp ikat traditions are designed with vertical-axis symmetry or have a "mirror-image" running along their long centre line. That is, whatever pattern or design is woven on the right is duplicated on the left in reverse order about a central warp thread group. Patterns can be created in the vertical, horizontal or diagonal.
WEFT IKAT
Weft ikat uses resist-dyeing for the weft yarns. The movement of the weft yarns in the weaving process means precisely delineated patterns are more difficult to weave. The weft yarn must be adjusted after each passing of the shuttle to preserve the pattern.
Nevertheless, highly skilled artisans can produce precise weft ikat. Japanese weavers produce very accurate indigo and white weft ikat with small scale motifs in cotton. Weavers in Odisha, India have replicated fine Urdu script in weft ikat. In Thailand, weavers make very fine silk sarongs depicting birds and complex geometrical designs in seven colour weft ikat.
In some precise weft ikat traditions (Gujarat, India), two artisans weave the cloth: one passes the shuttle and the other adjusts the way the yarn lies in the shed.
As the weft is commonly a continuous strand, aberrations or variation in coloration are cumulative. Some weft ikat traditions incorporate this affect into their aesthetic. Patterns become transformed by the weaving process into irregular and erratic designs. Guatemalan ikat is well-noted for its beautiful "blurs."
DOUBLE IKAT
Double Ikat is created by resist-dyeing both the warp and weft prior to weaving.This form of weaving requires the most skill for precise patterns to be woven and is considered the premiere form of ikat. The amount of labour and skill required also make it the most expensive, and many poor quality cloths flood the tourist markets. Indian and Indonesian examples typify highly precise double ikat. Especially prized are the double ikats woven in silk known in India as patola (singular: patolu). These are from Gujarat (Cambay). During the colonial era, Dutch merchants used patola as prestigious trade cloths during the peak of the spice trade.
In Indonesia double ikat is only woven in the Bali Aga village of Tenganan. These cloths have high spiritual significance. In Tenganan they are still worn for specific ceremonies. Outside Tenganan, geringsing are treasured as they are purported to have magical powers.
The double ikat of Japan is woven in the Okinawa islands and is called tate-yoko gasuri.
Pochampally Sari, a variety from a small village in Nalgonda district, Andhra Pradesh, India is known for silk saris woven in the double Ikat.
The Puttapaka Saree is made in Puttapaka village, Samsthan Narayanpuram mandal in Nalgonda district, India. It is known for its unique style of silk saris. The symmetric design is over 200 years old. The Ikat is warp-based. The Puttapaka Saree is a double ikat.
Before the weaving is done, a manual winding of yarn, called Asu, needs to be performed. This process takes up to 5 hours per sari and is usually done by the womenfolk, who suffer physical strain through constantly moving their hands back and forth over 9000 times for each sari. In 1999, a young weaver C Mallesham developed a machine which automated Asu, thus developing a technological solution for a decades-old unsolved problem.
OSHIMA
Oshima ikat is a uniquely Japanese ikat. In Oshima, the warp and weft threads are both used as warp to weave stiff fabric, upon which the thread for the ikat weaving is spot-dyed. Then the mats are unravelled and the dyed thread is woven into oshima cloth.
The Oshima process is duplicated in Java and Bali, and is reserved for ruling royalty, notably Klungkung and Ubud: most especially the dodot cloth semi-cummerbund of Javanese court attire.
OTHER COUNTRIES
CAMBODIA
The Cambodian ikat is a weft ikat woven of silk on a multi-shaft loom with an uneven twill weave, which results in the weft threads showing more prominently on the front of the fabric than the back.
By the 19th century, Cambodian ikat was considered among the finest textiles of the world. When the King of Thailand came to the US in 1856, he brought as a gift for President Franklin Pierce fine Cambodian ikat cloth. The most intricately patterned of the Cambodian fabrics are the sampot hol - skirts worn by the women - and the pidans - wall hangings used to decorate the pagoda or the home for special ceremonies.
Unfortunately, Cambodian culture suffered massive disruption and destruction during the mid-20th century Indochina wars but most especially during the Khmer Rouge regime. Most weavers were killed and the whole art of Cambodian ikat was in danger of disappearing.
Kikuo Morimoto is a prominent pioneer in re-introducing ikat to Cambodia. In 1995, he moved from Japan and located one or two old lady weavers and Khmer Rouge survivors who knew the art and have taught it to a new generation.
THAILAND
In Thailand, the local weft ikat type of woven cloth is known as Matmi (also spelled 'Mudmee' or 'Mudmi'). Traditional Mudmi cloth was woven for daily use among the nobility. Other uses included ceremonial costumes. Warp ikat in cotton is also produced by the Karen and Lawa tribal peoples in northern Thailand.
This type of cloth is the favourite silk item woven by ethnic Khmer people living in southern Isaan, mainly in Surin, Sisaket and Buriram.
LATIN AMERICA
Ikat patterns are common among the Andes peoples, and native people of Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru, and Venezuela. The Mapuche shawl or poncho of the Huaso cowboys of Chile is perhaps the item best known in the West. Wool and cabuya fibre are the most commonly used.
The Mexican rebozos can be made from silk, wool or cotton and are frequently ikat dyed. These shawls are seen as a part of the Mexican national identity and most women own at least one.
Latin American ikat (Jaspe, as it is known to Maya weavers) textiles are commonly woven on a back-strap loom. Pre-dyed warp threads are a common item in traditional markets- saving the weaver much mess, expense, time and labour. A Latin American innovation which may also be employed elsewhere is to employ a round stick around which warp threads are wrapped in groups, thus allowing more precise control of the desired design. The "corte" is the typical wrap skirt used worn by Guatemalan women.
ACCREDITATION
As of 2010, the government of the Republic of Indonesia announced it would pursue UNESCO Intangible Cultural Heritage accreditation for its ikat weaving, along with songket, and gamelan having successfully attained this UNESCO recognition for its wayang, batik and the kris.
WIKIPEDIA
Here is a new set of LEGO ideas and techniques, made with LDD
I'm sure you'll find a use to this idea
I tried to make the explanation readable thanks to the colors as if we had a tutorial
Do not forget to watch the album with all the right techniques on your right =>
Find all my creations on Flickr group « News LEGO Techniques ».
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for making accessories, objects, etc.
AltaRock Energy is working on a project involving new technology, techniques, and advanced monitoring protocols for the purpose of testing the feasibility and viability of enhanced geothermal systems for renewable energy production.
The project area is 22 miles south of Bend, Oregon, within the Bend-Fort Rock Ranger District of the Deschutes National Forest. The entire project is located on National Forest System Lands and would utilize an existing well pad and existing 10,000-ft deep geothermal well on a Federal geothermal lease. This geothermal project will enable the AltaRock Energy to create, test, and demonstrate the Enhanced Geothermal Systems (EGS) reservoir technology and its potential for electricity generation in areas with underground heat but little or no natural water. The EGS projects produce electricity using heat extracted with engineered fluid flow paths in hot rocks. These pathways are developed by stimulating them with cold water injected into a well at a relatively high pressure.
Development and testing of the EGS will involve several components, including the development of an underground reservoir, one “stimulation” well to help create the reservoir and transport water to it, two production wells to transport heated water out of the reservoir, and an array of up to 20 surface and “down-hole” seismic monitoring devices.
Eleven of the monitoring sites are on Federal geothermal leases administered by the BLM, and nine are on lands that are administered by the U.S. Forest Service, including one surface micro-seismic monitoring station and a motion sensor installed in the Newberry National Monument.
The United States leads the world in electricity generation with geothermal power. The U.S. Energy Information Administration reported that in 2012, U.S geothermal power plants produced about 17 billion kilowatt-hours (kWh), or 0.4% of total U.S. electricity generation. Six states had geothermal power plants: California had 36 plants producing about 80% of the Nation's geothermal-produced electricity; Nevada had 21 plants producing about 16% of the Nation's geothermal-produced electricity; Utah had two plants; and Hawaii, Idaho, and Oregon each had one plant. Geothermal energy is also used directly for space and water heating applications.
The Geothermal Steam Act of 1970, as amended (84 Stat, 1566; 30 U.S.C. 1001-1025), provides the Secretary of the Interior with the authority to lease public lands (245 million acres) and other federal lands, including National Forest lands (193 million acres), for geothermal exploration and development in an environmentally sound manner. This authority has been delegated to the Bureau of Land Management (BLM).
Leases are required to explore for or develop geothermal resources on public lands. Leasing requirements are described in the 43 CFR 3200 Geothermal Leasing Regulations.
As of June 5, 2013 there were 78 federal geothermal leases encompassing 102,484 acres in Oregon, a 2% acreage decrease since May 2012, and four leases encompassing 8,436 acres in Washington representing no change over the same period. There have also been 15 parcels nominated for leasing, 6 in Oregon (11,452 acres) and 9 in Washington (35,480 acres). Three of these are on BLM land; the remaining 12 are on U.S. Forest Service (USFS) land.
Specific project and location information for OR/WA can be found at this website: www.blm.gov/or/energy.
Photo: Michael Campbell, BLM.
Spot removal of the sign behind the shoulder, HSL manipulation, hue shift, curves layer edited, brightness adjustment, and cropped down
This idea for this photo was inspired by o2ma's tea set (now removed). The set was mentioned on flickr blog in January. I am also trying to use Paul Watson's Crisp White Background tutorial posted in the very worthwhile Techniques group. I first noticed Paul using the technique when I saw his picture of a notebook.
Ikat, or ikkat, is a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.
In ikat the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern. The yarns are then dyed. The bindings may then be altered to create a new pattern and the yarns dyed again with another colour. This process may be repeated multiple times to produce elaborate, multicolored patterns. When the dyeing is finished all the bindings are removed and the yarns are woven into cloth. In other resist-dyeing techniques such as tie-dye and batik the resist is applied to the woven cloth, whereas in ikat the resist is applied to the yarns before they are woven into cloth. Because the surface design is created in the yarns rather than on the finished cloth, in ikat both fabric faces are patterned.
A characteristic of ikat textiles is an apparent "blurriness" to the design. The blurriness is a result of the extreme difficulty the weaver has lining up the dyed yarns so that the pattern comes out perfectly in the finished cloth. The blurriness can be reduced by using finer yarns or by the skill of the craftsperson. Ikats with little blurriness, multiple colours and complicated patterns are more difficult to create and therefore often more expensive. However, the blurriness that is so characteristic of ikat is often prized by textile collectors.
Ikat is produced in many traditional textile centres around the world, from India to Central Asia, Southeast Asia, Japan (where it is called "kasuri"), Africa and Latin America. Double ikats - in which both the warp and weft yarns are tied and dyed before being woven into a single textile - are relatively rare because of the intensive skilled labour required to produce them. They are produced in Okinawa islands of Japan, the village of Tenganan in Indonesia, and the villages of Puttapaka and Bhoodan Pochampally in Telangana and Gujarat in India.
TYPES
In warp ikat it is only the warp yarns that are dyed using the ikat technique. The weft yarns are dyed a solid colour. The ikat pattern is clearly visible in the warp yarns wound onto the loom even before the weft is woven in. Warp ikat is, amongst others, produced in Indonesia; more specifically in Kalimantan, Sulawesi, and Sumatra by respectively the Dayaks, Torajans and Bataks.
In weft ikat it is the weaving or weft yarn that carries the dyed patterns. Therefore, the pattern only appears as the weaving proceeds. Weft ikats are much slower to weave than warp ikat because the weft yarns must be carefully adjusted after each passing of the shuttle to maintain the clarity of the design.
Double Ikat is a technique in which both warp and the weft are resist-dyed prior to weaving. Obviously it is the most difficult to make and the most expensive. ouble ikat is only produced in three countries: India, Japan and Indonesia. The double ikat made in Patan, Gujarat in India is the most complicated. Called "patola," it is made using fine silk yarns and many colours. It may be patterned with a small motif that is repeated many times across the length of a six-meter sari. Sometimes the Patan double ikat is pictorial with no repeats across its length. That is, each small design element in each colour was individually tied in the warp and weft yarns. It's an extraordinary achievement in the textile arts. These much sought after textiles were traded by the Dutch East Indies company for exclusive spice trading rights with the sultanates of Indonesia. The double ikat woven in the small Bali Aga village, Tenganan in east Bali in Indonesia reflects the influence of these prized textiles. Some of the Tenganan double ikat motifs are taken directly from the patola tradition. In India double ikat is also woven in Puttapaka, Nalgonda District and is called Puttapaka Saree. In Japan, double ikat is woven in the Okinawa islands where it is called tate-yoko gasuri.
ETYMOLOGY
Ikat is an Indonesian language word, which depending on context, can be the nouns: cord, thread, knot and the finished ikat fabric as well as the verbs "to tie" or "to bind". It has a direct etymological relation to Javanese language of the same word. Thus, the name of the finished ikat woven fabric originates from the tali (threads, ropes) being ikat (tied, bound, knotted) before they are being put in celupan (dyed by way of dipping), then berjalin (woven, intertwined) resulting in a berjalin ikat- reduced to ikat.
The introduction of the term ikat into European language is attributed to Rouffaer. Ikat is now a generic English loanword used to describe the process and the cloth itself regardless of where the fabric was produced or how it is patterned.
In Indonesian the plural of ikat remains ikat. However, in English a suffix plural 's' is commonly added, as in ikats. This is true in other some other languages. All are correct.
DISTRIBUTION
Ikat is a weaving style common to many world cultures. It is probably one of the oldest forms of textile decoration. However, it is most prevalent in Indonesia, India and Japan. In Central and South America, ikat is still common in Argentina, Bolivia, Ecuador, Guatemala and Mexico.
In the 19th century, the Silk Road desert oases of Bukhara, Samarkand, Hotan and Kashgar (in what is now Uzbekistan and Xinjiang in Central Asia) were famous for their fine silk Uzbek/Uyghur ikat.
India, Japan, Indonesia and many other Southeast Asian nations including Cambodia, Myanmar, Philippines and Thailand have weaving cultures with long histories of ikat production.
Double ikat weaving is still found in India, Japan and Indonesia. In Indonesia, it is still woven in Bali, Java, Kalimantan or Borneo and Sumatra.
HISTORY
As textiles do not last well through history, scholars have so far been unable to determine where the technique of ikat originated. Nevertheless, some parts of Asia demonstrates strong ikat traditions which suggest its possible origin; they are Maritime Southeast Asia, Indian subcontinent and Central Asia. However, it probably developed in several different locations independently, since ikat was known to be produced in several pre-Columbian Central and South American cultures.
The term "ikat" has Indonesian origin, and it was introduced into European textile vocabulary back in early 20th century, when the Dutch scholars begin to study the rich textile traditions of East Indies archipelago (today Indonesia).
Uyghurs call it atlas (in IPA [ɛtlɛs]) and use it only for woman's clothing. The historical record indicates that there were 27 types of atlas during Qing occupation. Now there are only four types of Uyghur atlas remaining: Qara-atlas (Darayi, black ikat used for older women's clothing), Khoja'e-atlas (yellow, blue, purple ikat used for married women), Qizil-atlas (red ikat used for girls) and Yarkant-atlas (Khan-atlas). Yarkant-atlas has more diverse styles; during Yarkant Khanate (16th century), there ten different styles of Yarkant-atlas.
PRODUCTION
WARP IKAT
Ikat created by dyeing the warp are simpler to make than either weft ikat or double ikat. First the yarns - cotton, silk, wool or other fibres - are wound onto a frame. Then they are tied into bundles. The bundles may be covered with wax, as in batik. (However, in making batik, the craftsperson applies the resist to the finished cloth rather than to the yarns to be woven.) The warp yarns are then wrapped tightly with thread or some other dye-resistant material to prevent unwanted dye permeation. The procedure is repeated, depending on the number of colours required to complete the design. Multiple coloration is common, requiring multiple rounds of tying and dyeing. The newly dyed and thoroughly washed bundles are wound onto the loom to produce the warp (longitudinal yarns). Warp threads are adjusted for the desired alignment for precise motifs.
Some ikat traditions, such as Central Asia's, embrace a blurred aesthetic in the design. Other traditions favour a more precise and more difficult to achieve refinement in the placement of the ikat yarns. South American and Indonesian ikat are known for a high degree of warp alignment. Weavers must adjust the warp repeatedly to maintain pattern alignment.
Patterns result from a combination of the warp dye and the weft thread colour. Some warp ikat traditions are designed with vertical-axis symmetry or have a "mirror-image" running along their long centre line. That is, whatever pattern or design is woven on the right is duplicated on the left in reverse order about a central warp thread group. Patterns can be created in the vertical, horizontal or diagonal.
WEFT IKAT
Weft ikat uses resist-dyeing for the weft yarns. The movement of the weft yarns in the weaving process means precisely delineated patterns are more difficult to weave. The weft yarn must be adjusted after each passing of the shuttle to preserve the pattern.
Nevertheless, highly skilled artisans can produce precise weft ikat. Japanese weavers produce very accurate indigo and white weft ikat with small scale motifs in cotton. Weavers in Odisha, India have replicated fine Urdu script in weft ikat. In Thailand, weavers make very fine silk sarongs depicting birds and complex geometrical designs in seven colour weft ikat.
In some precise weft ikat traditions (Gujarat, India), two artisans weave the cloth: one passes the shuttle and the other adjusts the way the yarn lies in the shed.
As the weft is commonly a continuous strand, aberrations or variation in coloration are cumulative. Some weft ikat traditions incorporate this affect into their aesthetic. Patterns become transformed by the weaving process into irregular and erratic designs. Guatemalan ikat is well-noted for its beautiful "blurs."
DOUBLE IKAT
Double Ikat is created by resist-dyeing both the warp and weft prior to weaving.This form of weaving requires the most skill for precise patterns to be woven and is considered the premiere form of ikat. The amount of labour and skill required also make it the most expensive, and many poor quality cloths flood the tourist markets. Indian and Indonesian examples typify highly precise double ikat. Especially prized are the double ikats woven in silk known in India as patola (singular: patolu). These are from Gujarat (Cambay). During the colonial era, Dutch merchants used patola as prestigious trade cloths during the peak of the spice trade.
In Indonesia double ikat is only woven in the Bali Aga village of Tenganan. These cloths have high spiritual significance. In Tenganan they are still worn for specific ceremonies. Outside Tenganan, geringsing are treasured as they are purported to have magical powers.
The double ikat of Japan is woven in the Okinawa islands and is called tate-yoko gasuri.
Pochampally Sari, a variety from a small village in Nalgonda district, Andhra Pradesh, India is known for silk saris woven in the double Ikat.
The Puttapaka Saree is made in Puttapaka village, Samsthan Narayanpuram mandal in Nalgonda district, India. It is known for its unique style of silk saris. The symmetric design is over 200 years old. The Ikat is warp-based. The Puttapaka Saree is a double ikat.
Before the weaving is done, a manual winding of yarn, called Asu, needs to be performed. This process takes up to 5 hours per sari and is usually done by the womenfolk, who suffer physical strain through constantly moving their hands back and forth over 9000 times for each sari. In 1999, a young weaver C Mallesham developed a machine which automated Asu, thus developing a technological solution for a decades-old unsolved problem.
OSHIMA
Oshima ikat is a uniquely Japanese ikat. In Oshima, the warp and weft threads are both used as warp to weave stiff fabric, upon which the thread for the ikat weaving is spot-dyed. Then the mats are unravelled and the dyed thread is woven into oshima cloth.
The Oshima process is duplicated in Java and Bali, and is reserved for ruling royalty, notably Klungkung and Ubud: most especially the dodot cloth semi-cummerbund of Javanese court attire.
OTHER COUNTRIES
CAMBODIA
The Cambodian ikat is a weft ikat woven of silk on a multi-shaft loom with an uneven twill weave, which results in the weft threads showing more prominently on the front of the fabric than the back.
By the 19th century, Cambodian ikat was considered among the finest textiles of the world. When the King of Thailand came to the US in 1856, he brought as a gift for President Franklin Pierce fine Cambodian ikat cloth. The most intricately patterned of the Cambodian fabrics are the sampot hol - skirts worn by the women - and the pidans - wall hangings used to decorate the pagoda or the home for special ceremonies.
Unfortunately, Cambodian culture suffered massive disruption and destruction during the mid-20th century Indochina wars but most especially during the Khmer Rouge regime. Most weavers were killed and the whole art of Cambodian ikat was in danger of disappearing.
Kikuo Morimoto is a prominent pioneer in re-introducing ikat to Cambodia. In 1995, he moved from Japan and located one or two old lady weavers and Khmer Rouge survivors who knew the art and have taught it to a new generation.
THAILAND
In Thailand, the local weft ikat type of woven cloth is known as Matmi (also spelled 'Mudmee' or 'Mudmi'). Traditional Mudmi cloth was woven for daily use among the nobility. Other uses included ceremonial costumes. Warp ikat in cotton is also produced by the Karen and Lawa tribal peoples in northern Thailand.
This type of cloth is the favourite silk item woven by ethnic Khmer people living in southern Isaan, mainly in Surin, Sisaket and Buriram.
LATIN AMERICA
Ikat patterns are common among the Andes peoples, and native people of Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru, and Venezuela. The Mapuche shawl or poncho of the Huaso cowboys of Chile is perhaps the item best known in the West. Wool and cabuya fibre are the most commonly used.
The Mexican rebozos can be made from silk, wool or cotton and are frequently ikat dyed. These shawls are seen as a part of the Mexican national identity and most women own at least one.
Latin American ikat (Jaspe, as it is known to Maya weavers) textiles are commonly woven on a back-strap loom. Pre-dyed warp threads are a common item in traditional markets- saving the weaver much mess, expense, time and labour. A Latin American innovation which may also be employed elsewhere is to employ a round stick around which warp threads are wrapped in groups, thus allowing more precise control of the desired design. The "corte" is the typical wrap skirt used worn by Guatemalan women.
ACCREDITATION
As of 2010, the government of the Republic of Indonesia announced it would pursue UNESCO Intangible Cultural Heritage accreditation for its ikat weaving, along with songket, and gamelan having successfully attained this UNESCO recognition for its wayang, batik and the kris.
WIKIPEDIA
Practicing the pomodoro technique with a friendly onscreen message to prevent me from checking twitter and email
Here is a new set of LEGO ideas and techniques, made with LDD
I'm sure you'll find a use to this idea
I tried to make the explanation readable thanks to the colors as if we had a tutorial
Do not forget to watch the album with all the right techniques on your right =>
Find all my creations on Flickr group « News LEGO Techniques ».
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for making accessories, objects, etc.
Been playing around with some whip antennae. See what else they can do at dagsbricks.blogspot.com/2013/05/lego-tips-and-techniques-...
History
Great Wall of the Qin Dynasty
Great Wall of the Han Dynasty
Great Wall of the Ming Dynasty
Map of the whole wall constructions
The Chinese were already familiar with the techniques of wall-building by the time of the Spring and Autumn Period, which began around the 8th century BC. During the Warring States Period from the 5th century BC to 221 BC, the states of Qi, Yan and Zhao all constructed extensive fortifications to defend their own borders. Built to withstand the attack of small arms such as swords and spears, these walls were made mostly by stamping earth and gravel between board frames. Qin Shi Huang conquered all opposing states and unified China in 221 BC, establishing the Qin Dynasty. Intending to impose centralized rule and prevent the resurgence of feudal lords, he ordered the destruction of the wall sections that divided his empire along the former state borders. To protect the empire against intrusions by the Xiongnu people from the north, he ordered the building of a new wall to connect the remaining fortifications along the empire's new northern frontier. Transporting the large quantity of materials required for construction was difficult, so builders always tried to use local resources. Stones from the mountains were used over mountain ranges, while rammed earth was used for construction in the plains. There are no surviving historical records indicating the exact length and course of the Qin Dynasty walls. Most of the ancient walls have eroded away over the centuries, and very few sections remain today. Later, the Han, Sui, Northern and Jin dynasties all repaired, rebuilt, or expanded sections of the Great Wall at great cost to defend themselves against northern invaders.
The Great Wall concept was revived again during the Ming Dynasty following the Ming army's defeat by the Oirats in the Battle of Tumu in 1449. The Ming had failed to gain a clear upper-hand over the Manchurian and Mongolian tribes after successive battles, and the long-drawn conflict was taking a toll on the empire. The Ming adopted a new strategy to keep the nomadic tribes out by constructing walls along the northern border of China. Acknowledging the Mongol control established in the Ordos Desert, the wall followed the desert's southern edge instead of incorporating the bend of the Huang He.
Photograph of the Great Wall in 1907
Unlike the earlier Qin fortifications, the Ming construction was stronger and more elaborate due to the use of bricks and stone instead of rammed earth. As Mongol raids continued periodically over the years, the Ming devoted considerable resources to repair and reinforce the walls. Sections near the Ming capital of Beijing were especially strong.[7]
During 1440s-1460s, the Ming also built a so-called "Liaodong Wall". Similar in function to the Great Wall (whose extension it, in a sense, was), but more basic in construction, the Liaodong Wall enclosed the agricultural heartland of the Liaodong province, protecting it potential incursions by Jurched-Mongol Oriyanghan from the northwest and the Jianzhou Jurchens from the north. While stones and tiles were used in some parts of the Liaodong Wall, most of it was in fact simply an earth dike with moats on both sides.[8]
Towards the end of the Ming Dynasty, the Great Wall helped defend the empire against the Manchu invasions that began around 1600. Under the military command of Yuan Chonghuan, the Ming army held off the Manchus at the heavily fortified Shanhaiguan pass, preventing the Manchus from entering the Chinese heartland. The Manchus were finally able to cross the Great Wall in 1644, when the gates at Shanhaiguan were opened by Wu Sangui, a Ming border general who disliked the activities of rulers of the Shun Dynasty. The Manchus quickly seized Beijing, and defeated the newly founded Shun Dynasty and remaining Ming resistance, to establish the Qing Dynasty.
Under Qing rule, China's borders extended beyond the walls and Mongolia was annexed into the empire, so construction and repairs on the Great Wall were discontinued.
Notable areas
An area of the sections of the Great Wall at Jinshanling
The following three sections are in Beijing municipality, which were renovated and which are regularly visited by modern tourists today.
* "North Pass" of Juyongguan pass, known as the Badaling. When used by the Chinese to protect their land, this section of the wall has had many guards to defend China’s capital Beijing. Made of stone and bricks from the hills, this portion of the Great Wall is 7.8 meters (25.6 ft) high and 5 meters (16.4 ft) wide.
* "West Pass" of Jiayuguan (pass). This fort is near the western edges of the Great Wall.
* "Pass" of Shanhaiguan. This fort is near the eastern edges of the Great Wall.
* One of the most striking sections of the Ming Great Wall is where it climbs extremely steep slopes. It runs 11 kilometers (7 mi) long, ranges from 5 to 8 meters (16–26 ft) in height, and 6 meters (19.7 ft) across the bottom, narrowing up to 5 meters (16.4 ft) across the top. Wangjinglou is one of Jinshanling's 67 watchtowers, 980 meters (3,215 ft) above sea level.
* South East of Jinshanling, is the Mutianyu Great Wall which winds along lofty, cragged mountains from the southeast to the northwest for approximately 2.25 kilometers (about 1.3 miles). It is connected with Juyongguan Pass to the west and Gubeikou to the east.
* 25 km west of the Liao Tian Ling stands of part of Great wall which is only 2~3 stories high. According to the records of Lin Tian, the wall was not only extremely short compared to others, but it appears to be silver. Archeologists explain that the wall appears to be silver because the stone they used were from Shan Xi, where many mines are found. The stone contains extremely high metal in it causing it to appear silver. However, due to years of decay of the Great Wall, it is hard to see the silver part of the wall today.
Another notable section lies near the eastern extremity of the wall, where the first pass of the Great Wall was built on the Shanhaiguan (known as the “Number One Pass Under Heaven”), the first mountain the Great Wall climbs. Jia Shan is also here, as is the Jiumenkou, which is the only portion of the wall that was built as a bridge. Shanhaiguan Great Wall is called the “Museum of the Construction of the Great Wall”, because of the Meng Jiang-Nu Temple, built during the Song Dynasty.
Characteristics
The Great Wall on an 1805 map
Before the use of bricks, the Great Wall was mainly built from Earth or Taipa, stones, and wood.
During the Ming Dynasty, however, bricks were heavily used in many areas of the wall, as were materials such as tiles, lime, and stone. The size and weight of the bricks made them easier to work with than earth and stone, so construction quickened. Additionally, bricks could bear more weight and endure better than rammed earth. Stone can hold under its own weight better than brick, but is more difficult to use. Consequently, stones cut in rectangular shapes were used for the foundation, inner and outer brims, and gateways of the wall. Battlements line the uppermost portion of the vast majority of the wall, with defensive gaps a little over 30 cm (one foot) tall, and about 23 cm (9 inches) wide.
Condition
The Great Wall at Mutianyu, near Beijing
The Great Wall in fog
While some portions north of Beijing and near tourist centers have been preserved and even reconstructed, in many locations the Wall is in disrepair. Those parts might serve as a village playground or a source of stones to rebuild houses and roads.[9] Sections of the Wall are also prone to graffiti and vandalism. Parts have been destroyed because the Wall is in the way of construction.[10] No comprehensive survey of the wall has been carried out, so it is not possible to say how much of it survives, especially in remote areas. Intact or repaired portions of the Wall near developed tourist areas are often frequented by sellers of tourist kitsch.
More than 60 kilometres (37 mi) of the wall in Gansu province may disappear in the next 20 years, due to erosion from sandstorms. In places, the height of the wall has been reduced from more than five meters (16.4 ft) to less than two meters. The square lookout towers that characterize the most famous images of the wall have disappeared completely. Many western sections of the wall are constructed from mud, rather than brick and stone, and thus are more susceptible to erosion.[11]
The number of nails varies in horseshoes; most shoes use six nails. When you build a shoe you can use as many or little nails as you want.
“Technique of the ‘Kiss On The Ear,” postcard, ca. 1940.Credit...Collection of Barbara Levine/Project B
Via:
The number of nails varies in horseshoes; most shoes use six nails. When you build a shoe you can use as many or little nails as you want.
Photo Credit: Shaun Robinson / Calgary Stampede
This classic lyric comes from an Eric B. & Rakim song called, “Don’t Sweat The Technique”. The beat itself is ridiculous!
Pvt. 1st Class Jon Wallace, 3rd Platoon, 570th Sapper Company, 14th Engineer Battalion, 555th Engineer Brigade uses a fire extinguisher to put out a tire fire, Feb. 15. The fire department offers classes to Army units to ensure that they are well trained in putting out mine resistant ambush protective vehicle fires during convoy operations.
A CAS card using the Kissing technique for Lily Pad's challenge. I inked the Dancing with Flowers stamp with Soft Apricot ink and the Designer Woodgrain with Cup'o'Joe ink and kissed them. Stamped the Flowers stamp onto the white card stock, matted into orange bazzil and then onto white card. Added the Best Wishes from Congrats set. Some twine and an orange button finished it off.
Also entering into Jay Gee's Nook challenge. Inspired by the first silhouette pic on the inspiration board
The creation IR36 – the semi-dwarf rice variety that became one of the most widely planted food crop variety worldwide in just a few years.
Hollowed bead technique..
" Cushy Puffy"
This "Cushy Puffy" hollowed bead technigue doesn't need to be carved after bake.
"Cushy Puffy " beads technique Tutorials are on my Etsy shop NOW!!...^.*
ETA: When I saw the challenge over at Curtain Call I just had to link up:
curtaincallchallenge.blogspot.ca/2016/01/curtain-call-ins...
Blogged here:
I wanted to test out a technique that I had read about a while back, but never got around to trying: stitching multiple shots together on a crop sensor to get results similar to those from a larger format (referred to by many as the "brenizer method", as it was popularized by photographer Ryan Brenizer).
This shot is stitched together from 4 overlapping frames shot using a 40mm f2 lens on my GF1. The result is a wider field of view, but with the same degree of focus. Instead of an equivalent 80mm f4, this image is around 48mm f2.4 on a full frame sensor. To get such an image you'd need a 24mm f1.2 on m4/3. Maybe I should pick up the Panasonic 25mm f1.4, since that's pretty close!
Greg Huse, urban forester, Arlington National Cemetery, leads a Memorial Arboretum fall walking tour through Arlington National Cemetery, Arlington, Va., Oct. 21, 2022. The tour focused on the Memorial Arboretum, a Level III Accredited Arboretum, as well as the urban forestry program, extensive tree collection, and State Champion trees at Arlington National Cemetery. Also highlighted were the overall horticulture program, and the variety of techniques used to create some of the most breathtaking formal and informal landscapes and gardens. (U.S. Army photo by Elizabeth Fraser / Arlington National Cemetery / released)
This technique can be expanded to use anything that has an axle hole in it or axle holder and then has a rotatablepin below it
I decided today that I would experiment with the reverse lens technique, what I like to call the poor mans macro lens.
By combining the 18-55 kit lens (@55mm) with a reversed 50mm you end up with some pretty serious magnification.
It's a tricky technique to use as you have an extremely shallow DOF to play with and you are only able to focus by moving closer to or from the subject.
I'm pretty happy for a first attempt. Will definately try more in the near future.
Technique shown on Digital Photo Magazine 149, Dec/2011,
3D image cube, applying my own images and processing.
Photos were taken at Trevarno Gardens, Cornwall.
Meditation is a practice where you can focus on a particular object, thought and activity, to train attention, awareness and achieve a mentally clear and emotionally calm and stable state.
To learn Yoga and meditation techniques please contact us or book your space now (Register): www.yogateacherstrainingrishikesh.com/
www.ebay.com/itm/Judo-seminar-Hiroshi-Katanishi-8-dan-201...
www.youtube.com/user/kallistafilm/
Hiroshi Katanishi is an expert of the European Judo Federation. Specialist of the highest class. Conducts seminars around the world in the framework of the project "Improve your club". Winner of the 8th dan. This is the most sought-after expert compared to 20 other specialists working on this project. It is easier to name the countries where he has not been yet than to list his seminars. It should be noted that the judo technique, which he demonstrates at the seminar, is completely based on the Japanese school of education. Date of birth March 11, 1952. At the time of the seminar in Canada (Vancouver), he was 65 years old, although it is difficult to believe in it.
Judo technique, which Katanishi analyzed at the seminar.
It should be noted that all technical actions were in the standing position from the NAGE WAZA section.
Disc 1 - the technique of the tricks okuri-ashi-barai, ko-uchi-gari, okuri-ashi-harai.
Disk 2 - the technique of o-uchi-gari tricks.
Disk 3 – the technique of ippon-seoi-nage tricks.
Disk 4 – the technique of okuri-ashi-barai, de-ashi-barai, ko-uchi-gari tricks.
Disk 5 – the technique of o-soto-gari tricks.
Disk 6 – the technique of o-soto-gari tricks.
In addition to these tricks, another technique was considered. Katanischi is a good demonstrator. He always supports all his explanations with a real throws. The seminar is designed for coaches working with children of 8 years and older.
Short biography of Hiroshi Katanishi.
8th dan is an expert at Tenri University (Japan).
Technical consultant of the Swiss Judo Federation, as well as technical consultant of the judo magazine "Lesprit-ju-judo". H. Katanishi teaches Judo in Lausanne, Switzerland.
03.11.1952 - Born in Kobe - Hero - Japan.
1970 - 1974 - Studied at the University of Tenri in Japan. 1974 - 1976 - coach of the French team.
Since 1976 - professional trainer and technical director of JKL.Since 1978 - an expert of Swiss dana in judo and jiu-jitsu.1979 - 1985 - National coach of the Swiss women's team.1992 - 1997 - coach of the Swiss national men's team.Since 1999 - Technical Advisor to the Swiss team.Currently he regularly holds seminars on judo techniques and methodics.
Look: Judo seminar
Time: 331 min. / 6 DVDs
Author: Pavlov D.
Language: French. English.
Format: PAL (DVD: 0/All)
Year: 2017
Shooting: Canada
For this i used a black card to cover the front of the lens. Within the black card i cut out the shape of a heart so that once the correct aperture was set, the blurred lights in the background would be presented accordingly
Found in a bin of parts left over from some old/abandoned WIPs.
Pretty standard fair but I thought someone might enjoy seeing it.
And today, I will reveal to you a new technique I have discovered, for street photography of people - you don't need any of that 'courage' or 'skill' crap to do it! That's right - no skills required!.
So you start by shortening your camera straps. Shorten it so that when you hang it around your neck, it goes down to nipple level. The camera must be as high up as possible so that not all your shots are looking up.
Next is about cradling the camera - you need to hold the camera in a way that has your thumb on the shutter button with your fingers gripping the side of the camera. This gives the appearance of you casually holding the camera as you walk around.
You then need a busy street. This obviously precludes places like Derby where nobody lives. The street has to be one of those main shopping areas where it's crowded - you can then blend in and you won't be noticed that much.
And finally, to take the photo, you need to have a good sense of direction. Point the camera at people as you walk around by swiveling it with your thumb. Point towards them, make a best approximation, shoot.
The photos won't be as good as doing it the proper way, but the point of this is to get a feel of walking around streets and taking photos of people. And a small percentage of the photos will be worth showing. In my case, it was this photo above.
The rest of the crappy photos are in the comments below.