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Eco Fashion Week April 22, 2013 Three stylists with $500 each made three runway collections from outfits presented by Value Village. Photos by Sean Herd.
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Very Old machine it is one of the effects of the English colonization of Egypt
Are currently in one of the old houses whos owned by one of the very poor Egyptians in a very very poor area.
The most IMPORTANT ISSUE is that no one knows its there and no one knows the value of this ...ARCHEOLOGICAL...MACHINE...
...UNTIL NOW !!!
...IMAGINE THAT ...?!?!?!
Experiment with converted IR camera using a polarizing filter and HDR software. AEB +/-2 total 3 exposures processed with Photomatix.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
A World Economic Forum‑Water Resources Group meeting in Mongolia, co‑hosted by the Office of the President of Mongolia and the Water Resources Group in June 2011
City of London 9 Gracechurch Street The Crosse Keys JD Wetherspoon English Pub Cod Fish and Chips Friday with a pint of Guinness Great Value at £11.75
www.jdwetherspoon.com/pubs/all-pubs/england/london/the-cr...
The value "61 degrees" doesn't mean anything unless a reference frame is specified. On compasses used for navigation, North is the primary axis and all angles are given as degrees clockwise from North. In math class, the + x axis is the primary axis and all angles are given as degrees counter-clockwise from x. Both are valid, as are any other reference axes. Usually we'll just use an angle inside one of our force triangles and know that we tell if something is positive or negative from the direction its going in the picture.
That said, sines and cosines work if you use the angle from the positive x-axis. I've shown this with this picture. When you do the angle like this the calculator will give you whether you're talking about something in this reference frame to the left/down (negative) or to the right/up (positive).
To make your life easier, use these greater than 90 degree angles in this lab, because they're what you're reading directly off the protractor. The math that comes next will do so. We use the internal angle to decide which trig function to use (using SOH-CAH-TOA) and then directly plug the angle from the protractor in.
I was going to gloss over this detail in class, but two 8th period students during the 2016-17 school year wanted a mathematical justification of this, so we stayed after school and came up with this picture
A values voter at the Values Voter Summit in Washington, DC.
Please attribute to Gage Skidmore if used elsewhere.
In the news this week it was revealed that some supermarkets were selling the new Harry Potter for less than the wholesale price. So much so that some independant booksellers will be buying them from Tesco to sell in their shops.
They are going to rather disappointed when they see the new cover.
value on board. You are allowed to use this image on your website. If you do, please link back to my site as the source: creditscoregeek.com/
Example: Photo by Credit Score Geek
Thank you!
Mike Cohen
An exercise for practicing values or different shades of gray. This time the values are obtained by varying the pressure used in holding the pencils. Just two pencils are used (HB and 2B). The exercise is proposed by Brenda Hoddinott at www.drawspace.com.
Secretary of State John Kerry And Brazilian Foreign Minister Antonio de Aguiar Patriota - After Their Meeting
FOREIGN MINISTER PATRIOTA: (Via interpreter) I was mentioning that he has a good knowledge of Portuguese in function of Mrs. Teresa Kerry. She’s also Portuguese.
But I would like to say that we had a meeting, a working meeting, this morning in this, which is the first visit of Secretary of State John Kerry to Brazil, to South America actually. He had a stopover at Bogota, which we consider to be very positive. It is our second meeting. I have kept a meeting with the Secretary of State in D.C. the past 20th of May. And moreover, the – aside from the meeting we had, we will receive him now for lunch in a short while, in which we will have also representatives from the legislative, the presidents of the foreign relation committees, as Senator Kerry has been, himself part of, also journalists, representatives from the civil society, and as all of you know, Secretary of State will be received by President Rousseff later this afternoon at the Planalto Palace.
Secretary of State John Kerry requires no presentation. He’s a known character to Brazil, a former candidate to the U.S. presidency, a senator of – from 1985-2013, president of the Foreign Relations Committee of the Senate between 2009-2013. And when he came to be the Secretary of State in the second term of President Obama, he is bringing with himself a commitment but several causes, which are extremely valued throughout Brazil: a commitment to sustainable development, all the agenda related to climate change, also a decisive support to the retaking of peace efforts in the Middle East, and we would like to congratulate the Secretary of State for his own efforts, which shall take us to a process within nine months’ time to be producing results.
In the last meeting this morning, we examined items in the bilateral agenda, which present, as all of you know, a robust trade and investment agenda. The U.S. are still the country with the largest stocks of investment in Brazil, the second largest partner of Brazil now with a growing deficit on the Brazilian side. We’ve also talked about that for over 30 bilateral mechanisms involving areas which go from energy to racial equality, gender equality, contact with the private sector, the universities, the civil society. Today, the United States is the largest destination of Brazilians within the Science Without Borders program. It’s 5,800 students. That is increasing every day.
Anyways, the potential of the relationship is even greater, especially now in a moment in many observers are referring to the relationship between Brazil and the U.S. as a relationship which is growing more and more. It’s getting more mature. But this maturity includes encompassing more relevant themes, especially in a moment we are about to redefine our contacts with a strategic partnership. President Obama in his letter to invite President Rousseff to visit, which will take place in October this year, referring to a strategic partnership with Brazil, President Rousseff responded with the same terminology.
At the same time, I should not forget to mention that we’re now facing a new type of challenge in our bilateral relationship. It is a challenge which has to do with wiretapping, telephone calls. And in case these challenges are not solved in a satisfactory way, we run the risk of casting a shadow of distrust on our work. We have established technical communication means, political channels are open as well. We have clarified everything that was requested. But these are not an end in themselves, so this doesn’t meet – accept the status quo. We need to discontinue practices which are an attempt to sovereignty in the relationship between the states and which can violate the individual freedoms that both of our countries are very much fond of.
Let me make it very clear that there is a broad space for us to advance. We have recently received the Secretary of Agriculture. We will receive the Secretary of Energy in a few days’ time. The mechanism with economic and commercial cooperation TECA is going to be meeting in September at the level of vice ministers. In September as well, we will have the third conference for innovation, Brazil and U.S, the working group for the scientific and technological committee. On the same theme and at the same time, we should not minimize the relevance acquired so far regarding espionage.
Within a few moments, we’ll keep on talking to Secretary Kerry in an environment which I believe is a symbol to our commitment with democracy, freedom, a good government, freedom of the press, opening with the civil society. And so this will be an occasion for us to hear a bit more of the last developments in this retaking of the peacemaking process between Israelis and Palestinians. Also, we had an opportunity to talk about Syria and other situations on my part.
As well, I shall be ready with a dispositioned and even interested of making an updated snapshot of a region, which as I have mentioned to Secretary Kerry today, I think we’re distinguished for being a space of democracy, economic growth, social justice with enough conditions which are unprecedented worldwide.
Thank you very much. Mr. Kerry.
SECRETARY KERRY: Well, bom dia. I’m happy to be here with everybody. Thank you very much. Thank you, Foreign Minister Patriota for hosting me here today. I’m very happy to be back in Brazil. I have great memories of my first trip here in 1992 to the Earth Summit in Rio, and I’m happy to be back here now and very grateful for the opportunity to continue the good dialogue that Antonio and I have had since the day we first talked on the telephone when I was appointed to this job.
Even when I came to Brazil back in 1992 for the Earth Summit, I could sense this incredible energy in Brazil, and I could feel firsthand the amazing commitment of Brazil to try to grab the future and particularly back then to address the issue, which was then even urgent, of climate change. I’m pleased to see that over the years Brazil’s commitment to environmental stewardship has continued right up until this day, and there have been very important efforts on the reduction of deforestation problems, alternative renewable energy problems, biofuels, other kinds of initiatives, but also very important, last year’s hosting of Rio+20.
And for those of us who have been involved in the challenge of climate change for all of that time, I think it was a bittersweet moment to measure 20 years, when the hopes of 20 years before we had to acknowledge had not yet been realized. So the challenge is ahead of us, for all of us, and I know that the United States has a great commitment under President Obama to take our own initiatives, not even to wait for congressional action, but to move administratively in order to do our part. I know we can continue to work with Brazil on this issue of climate, and we look forward to doing so.
Our mission is very, very clear. We need to inspire meaningful reform and action within the Major Economies Forum. We need to lead the effort to phase down hydrofluorocarbons in the Montreal Protocol. And together, Brazil and the United States need to join with other countries in an effort to negotiate a climate agreement in 2015 that is ambitious and flexible and that works for all of us.
Now, obviously we have also had some moments of disagreement, and I’m sure I’ll have an occasion in the questions to be able to address some of that with you. But the United States and Brazil – I want to emphasize, rather than focus on an area of disagreement – the United States and Brazil share a remarkable and dynamic partnership. Every single day we work together to advance economic opportunity, human rights, environment protection, regional peace and security, democracy, as well as major global challenges in the Middle East and elsewhere – Syria for instance and the question of the humanitarian challenge in Syria.
The United States respects and appreciates that Brazil is one of the world’s largest free market democracies, and our partnership is only made stronger as all of the world continues to grow. The United States recognizes and welcomes and greatly appreciates the vital leadership role, the increasing leadership role, that Brazil plays on the international stage – excuse me – and that ranges from its participation in global peace initiatives to its stability operations and promotion of human rights and its efforts to try to help either promote the peace or keep the peace in certain parts of the world.
Through the Global Peace Operations Initiative, we are working with Brazil and the United Nations to build the capacity of countries to be able to contribute themselves to peacekeeping operations. Brazil has provided more than 1,400 uniformed personnel to the stabilization mission in Haiti. We’re very grateful for that. And we’re also exploring opportunities for closer collaboration on peacekeeping in Africa.
It’s fair to say that protecting universal rights is at the very heart of the shared values between Brazil and the United States. And together, we remain committed to advancing those rights and to advancing the cause of equality for all people.
The United States also supports a very vibrant and active Organization of American States, and the OAS Charter reminds us of our responsibilities to offer our citizens liberty and to create the conditions in which all people can reach their aspirations, can live their aspirations. We believe that it is important that Brazil engage fully with the OAS and use its strong voice for a hemispheric vision of democracy and fundamental freedoms.
Now, our relationship is not only rooted in shared values, it is literally strengthened every single day by our citizens. Each year thousands of people travel between the United States and Brazil, forging new ties between our countries. Student exchanges under President Rousseff’s Scientific Mobility Program, which I had the privilege of visiting this morning and sensing firsthand the amazing energy and excitement and commitment of these young people, that’s something we share in common. And together with President Rousseff’s program and President Obama’s 100,000 Strong in the Americas Initiative, we are encouraging together approaches to address the shared concerns of our young people to include social inclusion and to work towards things like environmental sustainability.
Our exchange programs also ensure that today’s generation is going to be ready to respond to the enormous challenges of tomorrow and of the future. The vibrant and the growing connection between the United States and Brazil, between our governments and our citizens, is absolutely one of the defining partnerships of the 21st century. I said to Antonio, and I believe this and I know President Obama believes this and he communicated this when he came here recently, the future belongs to young people. Our job is to lay the groundwork for them, is to provide the opportunity for them to make the most of education and of the technologies and jobs that will define the future.
So I look forward, as President Obama does, not only to growing this partnership but to finding ways to work on our common values, our common interests, and our common hopes for our peoples. And we very much look forward to welcoming President Rousseff to Washington, D.C., for her meeting and a state visit with President Obama and our country in October. And with that, I’d be happy to answer any questions.
MODERATOR: (Inaudible.)
QUESTION: (Via interpreter) Secretary Kerry, we wanted – if you could, we wanted you to speak briefly about this issue of espionage and if by any chance Brazil – the United States will stop spying on the rest, and what guarantees the U.S. Government can give if the answer is no that you’re not going to stop spying, please what will you do? Do you think you can have deteriorated or hampered this relationship with Brazil?
SECRETARY KERRY: Well, obviously, first of all, I did not think it would be a surprise if I got a question on that subject, so I wanted to have a chance to be able to share some thoughts with you, and now I’m happy to address that and other things.
But very, very important, I ask the people of Brazil – and I will answer the question very directly. But I ask the people of Brazil to stay focused on the important realities of our relationship, the bilateral relations between our countries which continue to grow stronger and stronger. We share democratic values and we share a commitment to diversity and we share a determination to improve opportunities for our people. And the U.S.-Brazil relationship has the opportunity to provide extraordinary positive global impact if we continue to work together on these kinds of issues, on the environment and science and technology and sustainable energy, nonproliferation, on access to education, on disaster management, and our strong trade ties, our strong investment ties, our energy cooperation, our sustainable development cooperation. All of these things need to remain in the forefront of people’s minds as you consider this question of the national security revelations that have upset some people and created questions in others.
Let me be crystal clear: I can’t discuss with you operational issues, but I can tell you very definitively the Congress of the United States passed on a law after 9/11 when we were attacked by al-Qaida, and we began a process of trying to understand before they attacked us what these kinds of plots might be. The executive department of our government, after a law was passed by Congress which met our legal standards and passed the muster of law, then implemented the program with the supervision of our judiciary. So all three branches of the American Government have been involved in reviewing this particular program.
Now, we have engaged with the Brazilian Government very, very directly, and I want to express my appreciation to the Foreign Minister and to Brazilian officials who have visited with us in Washington, and we are here now and we will continue to have this dialogue. And we will have this dialogue with a view to making certain that your government is in complete understanding and complete agreement with what it is that we think we must do to provide security not just for Americans but for Brazilians and for people in the world.
Over the last years, regrettably, a number of countries – a number of groups – not countries – a number of groups in the world have individually targeted not just American interests but free interests in the world. There have been bombings in many places in the world. Innocent people have lost their lives. And what the United States has been trying to do is prevent these things from happening beforehand by knowing what others might be plotting.
So I would respectfully say to everybody that the United States, as the President said last Friday, the United States gathers foreign intelligence of the type gathered by all nations in order to protect their citizens, in order to protect our citizens. And our activities are firmly based on law and they are subject to oversight by all of the branches of our government. We are convinced that our intelligence collection has positively helped us to protect our nation from a variety of threats, not only protect our nation but protect other people in the world, including Brazilians.
And so we have engaged now with the Brazilian Government, we will stay very closely engaged with the Brazilian Government, and I can promise you that President Obama is determined that the United States will live up to the highest standards both of cooperation, of transparency, and accountability, in keeping with our ability to be able to protect ourselves and to protect others in the world.
QUESTION: Mr. Secretary, Mr. Foreign Secretary, you have said that all the South American ministers are united in condemning the alleged spying, and Brazil was asked for a formal explanation from the United States on this. What explanation have you received today? And also, you mentioned that if this situation is not resolved in a satisfactory manner that it risks perhaps more distrust in the relationship. So what are you looking for the United States to do?
FOREIGN MINISTER PATRIOTA: (Via interpreter) Well, in a summarized way I believe that you do know of the fact that ever since the first moment when these news came to be, we did get in touch with the U.S. Government by means of Ambassador Thomas Shannon here in Brasilia, and also the Embassy in D.C., and we opened dialogue channels, communication channels, both technical and political, And at the same time, there have been individual protests in Brazil and other countries in the region, as you all said, and on July 12th, a meeting by MERCOSUR adopted a decision which did instruct the countries – Argentina, Brazil, Uruguay, Venezuela, Colombia, Bolivia, who had subscribed – to start with the UN Secretary General taking this to the Security Council at the UN.
These demonstrations took place. They do reflect a considerable concern, and I think it’s legitimate, by the region and the international community in general, what practices which may be an attempt to the sovereignty of the very countries and to the rights of individuals. There have been demonstrations regarding the violation of human rights, especially from the High Commissioner of the UN for Human Rights, Navi Pillay.
And as a matter of fact, this clarification process, as I have mentioned, it’s not an end in itself. What we do consider is that the United States will never find a better partner in the fight against international terrorism and several other threats to homeland security as they are taking forth in a transparent way. International partnerships, when they’re done fully transparently, they do strengthen the trust. And when there is a lack of knowledge or lack of information on the country they may weaken this trust, so what we want to avoid from happening.
SECRETARY KERRY: Can I just add, if I may, to that? We’re not surprised and we’re not upset that Brazil would ask questions. Absolutely understandable. And Brazil is owed answers with respect to those questions, and they will get them. And we will work together very positively to make certain that this question, these issues, do not get in the way of all the other things that we talked about. And we will guarantee that Brazil and other countries will understand exactly what we’re doing, why and how, and we will work together to make sure that whatever is done in a way that respects our friends and our partners, and that is what we’re going to achieve.
QUESTION: (Via interpreter) Flavia (inaudible) Sao Paulo. Let me change the subject here a little. I would like to know if the topic regarding the issue on some visas in – to Brazilians, did you two talk about it? And is there a deadline for the waiver of the visa, or exception from a visa? And if the visit – President Rousseff to D.C. in October can be decided on her trip coming October?
FOREIGN MINISTER PATRIOTA: (Via interpreter) Well, briefly I mentioned that there are several initiatives and also meetings that are programmed for the next few months, which are included within those prospective preparation of the state visit to the U.S.
In one of the works that we’re going to be developing will be exactly this issue of exempting the visas to Brazilians. As you all know, there is a proposal which is known as the Global Entry – in English – which is being discussed between the two sides, and I understand that the last counterproposal of Brazil of a language to accommodate a few of the issues we have over here is under exam right now. And a declaration can be agreed upon in September, coming September, in which we’ll then have a text during her visit. So we do consider that. In this term, progress has been encouraging, satisfactory, and we will have some results soon to come.
Now related to the elimination or the exemption of the visa itself is a more complex issue, which we’ll need more time for discussion.
SECRETARY KERRY: Let me just say that we are – is that on? Yes. We’re committed to as vast a visa application processing process as possible. And we’re very proud that we have streamlined our operations over the course of the last year. We very much want to see more Brazilians coming to the United States for business, for tourism, for study, visiting friends, relatives, and so forth. So it’s very much in our interest to facilitate this.
Last year, we processed about one million visa requests all across Brazil, and we have managed to make the appointment times – the wait for those visas is down to either five days or under – less than five days. We have spent millions of dollars to upgrade our facilities in order to try to make this happen more effectively, and we’re going to be opening new consulates in Belo Horizonte and Porto Alegre. So we’re moving as much as we can to facilitate this.
And finally, we want to continue to consult very closely with Brazil in order to make sure we have legal statutory requirements that have to be met to allow for a reciprocal free visa travel under the visitors program. And we hope to get there. I’m confident we can, but we just need to continue to work together. But I promise you, we welcome as many people to come and visit and be able to move freely back and forth as is possible, and I’m confident we’ll get to the day when we have an open visa program.
QUESTION: Mr. Secretary, we understand that earlier today you spoke with Prime Minister Netanyahu, including presumably about the settlements, which by some counts have reached 3,100 new or advancing units appeared in recent days. What can you tell us about that conversation and your message to the Prime Minister? Have you had a similar conversation with President Abbas? Are the Palestinians still on board for the peace talks? And finally, what would you say to those who say that the Israelis are doing this – they’re playing along with their initiative – but that they’re really too divided to make the hard decisions for peace? Thank you.
SECRETARY KERRY: No. Well, I – thank you. It’s a very appropriate question. It’s timely, obviously. Yes, I did speak with Prime Minister Netanyahu this morning, and I, first of all, conveyed to him my hopes for his speedy recovery. As you know, he’s just had surgery, and he’s dealing with these issues in the middle of that, and I can tell you that’s obviously not easy.
We had a very frank and open, direct discussion about the question of settlements. Let me make it clear: The policy of the United States of America with respect to all settlements is that they are illegitimate, and we oppose settlements taking place at any time, not just the time of the peace process.
But – here’s the but – that said, Prime Minister Netanyahu was completely upfront with me and with President Abbas that he would be announcing some additional building that would take place in places that will not affect the peace map, that will not have any impact on the capacity to have a peace agreement. That means that it is building within the so-called blocs in areas that many people make a presumption – obviously not some Palestinians or others – will be part of Israel in the future. He has specifically agreed not to disturb what might be the potential for peace going forward.
Now, we still believe it would be better not to be doing it, but there are realities within life in Israel that also have to be taken into account here going forward. President Abbas understood that coming into these talks. That’s why these talks are pressed into this time period of nine months. That’s why we all understand there is urgency, as I said yesterday, to getting to the discussion of borders and security. If you resolve the borders of Israel – and you can only do that also resolving the security issues for Israel – you have resolved any questions about settlements, because then you know what is in Israel and what is not. And so the sooner we get to that discussion the better.
I will be talking to President Abbas today. We have a call scheduled for later. And he is committed to continue to come to this negotiation, because he believes the negotiation is what will ultimately resolve this issue, not a temporary decision or restraint. So we will continue to work this very, very closely with Israelis and we will continue to work it very closely with Palestinians. And our hope is that we get to the real issues on which we ought to be focusing, which are the final status settlement – the final status issues. And I’m very hopeful we will get there very, very soon.
FOREIGN MINISTER PATRIOTA: (Via interpreter) Just briefly, at the same time that we support the efforts of Secretary Kerry and we are bringing up to the table the Israeli and Palestinian negotiation, we do – we do – we are against the Palestinian settlements, which are done against the UN Security Council resolutions, and they do represent a violation of the international law. We do consider that this kind of fact will not contribute for creating a propitious environment for the understandings of the whole international community, and Brazil specifically would love to see coming at the end of this nine month period time upon which negotiators will be working.
Let me also mention that I have encouraged Secretary Kerry to give more relief to the participation of the civil society in Israel and the Palestine along this peacemaking process. I was well impressed when I visited the region last year in October and when I saw that in the – among the civil society on both ends there are voices that are quite committed to peace and they do convey messages which are a bit different from the ones we’re used to seeing. These messages are in repudiation of violence and consumed facts and the establishment of settlements, which are not favorable for the understanding for peace.
SECRETARY KERRY: That’s it. Okay.
FOREIGN MINISTER PATRIOTA: (Via interpreter) Thank you.
# # #
August 13, 2013
Itamaraty Palace
Brasilia, Brazil
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
“Nowadays people know the price of everything and the value of nothing.”
― Oscar Wilde, The Picture of Dorian Gray
Eco Fashion Week April 22, 2013 Three stylists with $500 each made three runway collections from outfits presented by Value Village. Photos by Sean Herd.
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