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Rafael Mariano Grossi, IAEA Director General, welcomes delegates and participants as he delivers his opening remarks at the virtual meeting of the Standing Advisory Group on Nuclear Applications (SAGNA) held at the Agency headquarters in Vienna, Austria. 11 February 2021. Joining the DG in this meeting are Najat Mokhtar, IAEA Deputy Director General and Head of the Department of Nuclear Sciences and Applications, Jean-Pierre Cayol, Departmental Programme Coordinator, Department of Nuclear Sciences and Applications, Toshio Kaneko, Special Assistant to the Director General for Nuclear Energy, Nuclear Applications and Technical Cooperation and Sayed Ashraf, Senior Scientific Adviser to the DG.
Photo Credit: Dean Calma / IAEA
I know that flickr is full of purists who won't touch Photoshop but I'm not one of them. I love manipulation, distortion and whatever else.
This is a photo of my sparkling reflection photo on the Flickr website that I photographed on a laptop screen. It's the meta meta self-referencing virtual reality of the internet - the technological metaverse simulation of time/space reality.
© All rights reserved.
Someone said: "Landscape photography, like pornography, attempts to seduce the beholder by presenting an image divorced from its actual physical context ... " ...Context?.....What context?........the weather? ;~)>
The thought I've had is that beautiful photographic images of pristine-looking nature often collude with our compartmentalized denial fantasies............. about the minute by minute ongoing damage and destruction to our mother earth........ Even well meaning eco-tourists (such as me) exact significant costs.....
Just as pornographic images arouse sexual energy without love, connectedness and intimacy, landscape images can create the illusion of feelings and connections with our planet that only exist in "virtual reality"......
This phenomenon reminds me of the "tree museum" Joanie Mitchel talks about in her song "Yellow Taxi":
"They took all the trees, and put em in a tree museum
And they charged the people a dollar and a half to see them
No, no, no, don't it always seem to go
That you don't know what you've got till it's gone
They paved paradise, and put up a parkin' lot"
The dillema is........... ....how to create non-objectifying, non-narcotizing, non-compartmentalizing art that puts us in touch with the world around us, such as it is.......while inspiring alternative visions of what could be......
The New Mexico Photography Field School Landscape Photography Class.
I am grateful to our teacher Craig Varjabedian and his workshop assistant Jay Packer. They were wonderfully skilled guides in helping me to orient myself to the basics of landscape photography. Their understanding and grasp of the technical, aesthetic and ineffable mysteries of photography are simply awesome and a delight. www.photofieldschool.com/craig.html
I took this photo at Ghost Ranch where Georgia O'keefe lived and painted. It is said that she claimed that if she painted a nearby mountain enough times god had told her that it would be hers. She is buried there. This is a spiritually and artistically inspiring and powerful place.
Ghost Ranch was part of a land grant to Pedro Martin Serrano from the King of Spain in 1766. The grant was called Piedra Lumbre (shining rock). The name "Ghost Ranch", or the local name Rancho de los Brujos, was derived from the many tales of ghosts and legends of hangings in the Ranch's history.
"When I got to New Mexico, that was mine."
In this way Georgia O'Keeffe described her instant love for Northern New Mexico, a love that lasted the rest of her life. The time was 1917, the event was a trip O'Keeffe and her sister Claudia took to New Mexico and Colorado from their home in Canyon, Texas. Yet it was 12 years before O'Keeffe returned to New Mexico and even longer before she found her way into the beautiful valley that would eventually become her summer home.
In 1929 O'Keeffe went to Taos at the invitation of friends Dorothy Brett and Mabel Dodge Luhan. There she heard of Ghost Ranch and once even caught a tantalizing glimpse of it from a high plain. In 1934 she finally found the ranch but was dismayed to learn that it was a dude ranch owned by Arthur Pack. However, a place was available for her that night in Ghost House and she spent the entire summer at the ranch.
That established a pattern she would follow for years, summers at Ghost Ranch exploring on foot and on canvas the beauty of the place, winters in New York. Because she was basically a "loner," she soon sought Ghost Ranch housing that was somewhat isolated from the headquarters area. Pack offered to rent her his own residence called Rancho de los Burros; this suited her very well. One spring she arrived unexpectedly and found someone else in the house. She demanded to know what those people were doing in her house. When Pack pointed out that it wasn't her house, she insisted that he sell it to her. Thus she became the owner of a very small piece of Ghost Ranch land: a house and 7 acres. (In later years she told a ranch employee doing roadwork near her home, "I wanted enough land to keep a horse - all Arthur would sell me was enough for my sewer!")
But Rancho de los Burros was a summer place and also a desert one. O'Keeffe wanted a garden and a winter home. Eventually, she bought 3 acres in the village of Abiquiu. She spent 3 years remodeling and rebuilding the crumbling adobes before the place was fit for human habitation. After her husband, Alfred Stieglitz, died, O'Keeffe left New York to make Abiquiu her permanent home.
In 1955 Arthur and Phoebe Pack gave Ghost Ranch to the Presbyterian Church. O'Keeffe was aghast. The Packs should have sold her the ranch, she thought, and besides, she never cared much for Presbyterians anyway. Her precious privacy would be gone. However, from the very beginning of this new relationship the Presbyterians respected and tried to preserve the privacy of their famous neighbor. Visitors were told, as they are today, that Rancho de los Burros was on private land with no public access. Gradually her fears were allayed and the relationship grew warmer. Office personnel sometimes did secretarial work for her; Ghost Ranch folks replaced the pump on her well. O'Keeffe became friendly enough with long-time ranch director Jim Hall and his wife Ruth to have Christmas dinner with them.
She made a money gift toward construction of the Hall's retirement home on the ranch. When fire destroyed the headquarters building in 1983, O'Keeffe immediately made a gift of $50,000 and lent her name to a Challenge Fund for the Phoenix campaign which resulted in replacing the headquarters building and adding a Social Center and the Ruth Hall Museum.
During the last few years of her life O'Keeffe was unable to come to Ghost Ranch from Abiquiu. Eventually she moved to Santa Fe where she died in her 99th year, reclusive to the end. "I find people very difficult," she once said.
Ghost Ranch gave her the freedom to paint what she saw and felt. Knowledgeable visitors can look around and identify many of the scenes she painted. Red and gray hills like those across from the roadside park south of the ranch headquarters were frequent subjects. Kitchen Mesa at the upper end of the valley is an example of the red and yellow cliffs she painted many times. Pedernal, the flat-topped mountain to the south, was probably her favorite subject. "It's my private mountain," she frequently said. "God told me if I painted it often enough I could have it." And of course, the Ghost Ranch logo, used on everything from stationery to T-shirts, was adapted from an O'Keeffe drawing.
ABOUT: Craig Varjabedian is a fine-art photographer of the lands and peoples of the American West and Southwest and is Director of the Field School. He was born in Canada and began photographing at the age of thirteen. He has subsequently sustained an artistic career spanning over thirty years, which began in earnest in 1971 and involved studies with Phil Davis at the University of Michigan and Paul Caponigro in Santa Fe. Varjabedian’s first one-man show was at the Albuquerque Museum in 1994. Since that time he has been widely exhibited in museums and galleries throughout the United States. Grants from the National Endowment for the Arts, the Samuel H. Kress Foundation and the McCune Charitable Foundation have been awarded to Varjabedian over the course of his photographic career in recognition of his powerful imagery. His pursuit of an intensely personal vision has culminated in images of moments made extraordinary by light and life. He approaches his subjects receptively, preferring to utilize an intuitive approach rather than arranging forms and recording surface details. In the final analysis, Varjabedian’s photographs allow viewers to share in the authentic experience of an artistic process which celebrates luminous and heartfelt experience.
Upcoming books of his photographs include Four & Twenty Photographs: Stories from Behind the Lens (Spring 2007) and a book on Ghost Ranch (Spring 2008), both with Santa Fe author Robin Jones, which will be available from the University of New Mexico Press. The late Beaumont Newhall, preeminent photographic historian, wrote, “The remarkable photographs by Craig Varjabedian are not only beautiful but also extremely valuable documents of architecture, culture, and lifestyle of Northern New Mexico.”
at [Kou!] sim
August 5, 2012
THANK YOU VERY MUCH to everyone has made this party GREAT! :)))
(come and have fun for few days more and visit the whole sim :)
Hello everyone,
a heart accompanied by a lovely smile to thank you for your loyalty and interest in my work.
XOXO
a past project for Bill Guffey's monthly artist's participation project www.virtualpaintout.blogspot.com
Spice up your corporate office! As more employees return to offices, it's the perfect time to give your space a refresh that speaks to your brand. Here are some examples of a corporate office project we worked on for Torani. From a dimensional logo, to a company history wall timeline, decorative wall and window graphics, fun standees and more.
Preteen gets ready to transition to the library's online gaming offerings through the library online. Photo courtesy of Kelly. Photographed: I.D.
We designed our site to improve knowledge for electronic engineers by discussing with our experts and encourages engineers in all aspects to learn electronic circuits designing.
Virtual Carnival
Original song in the style of uplifting electronic pop
(Verse 1)
Three avatars walking through the digital gate
Colors spinning 'round us, we can hardly wait
Neon lights are calling, music in the air
Virtual carnival magic, joy beyond compare
(Pre-Chorus)
Up and down, round and round
Laughter is the sweetest sound
In this world we've made our own
Never dancing here alone
(Chorus)
We're flying high on the Ferris wheel
Digital dreams that we can feel
Carousel horses, spinning free
This is where we're meant to be
Everywhere we go, everywhere we play
In our virtual carnival day
Everywhere we smile, everywhere we run
Three hearts beating as one
(Verse 2)
Cotton candy clouds above the merry-go-round
Avatar friends together, feet don't touch the ground
Bumper cars and roller coasters, thrills that never end
In this pixelated paradise with my virtual friends
(Pre-Chorus)
Up and down, round and round
Laughter is the sweetest sound
In this world we've made our own
Never dancing here alone
(Chorus)
We're flying high on the Ferris wheel
Digital dreams that we can feel
Carousel horses, spinning free
This is where we're meant to be
Everywhere we go, everywhere we play
In our virtual carnival day
Everywhere we smile, everywhere we run
Three hearts beating as one
(Bridge)
No worries here, no stress, no fear
Just pure joy crystal clear
Avatar souls, we're alive and bright
Dancing through the carnival night
(Final Chorus)
We're flying high on the Ferris wheel
Digital dreams that we can feel
Carousel horses, spinning free
This is where we're meant to be
Everywhere we go, everywhere we play
In our virtual carnival day
Everywhere we smile, everywhere we run
Three hearts beating as one
Everywhere we go... everywhere we play...
Three hearts beating as one
Screen grab of one section of notes from Penny Pullan's interview of me and David Sibbet for the 2011 Virtual Working Summit. The video of these notes is available on YouTube.
Maqueta Virtual
Proyecto Fín de Carrera de Sergio Martínez
Residencia de Ancianos y Centro de Día en Zamora
Great place about information technology.
... and Molecular Engineering, Nanotechnology.
Virtual Reality, Augmented Reality ...
Thanks to Mascottus Phlox
Posted by Second Life Resident Daneel Ariantho. Visit Emerce Een.
A diatomic hydrogen (H2) unoccupied (virtual) molecular orbital = 80.0 eV; π* antibonding (degenerate pair, EG) GAMESS 18 RHF 6-31+G(d,p) geometry-optimized structure (total energy = -1.1313 a.u.) and Jmol visualization. D∞h point group symmetry. The other identical molecular orbital is orthogonal to this. Of course, the H-H σ bond HOMO is much lower in energy.
Hartree–Fock (HF) method is a method of approximation for the determination of the wave function (Ψ).
Using electron correlation energy correction using configuration interaction (CIS) with the same HF geometry and basis set, the post self-consistent field HOMO→π* excitation (ground state → seventh or eigth excited states; state 1EG) is 81.59 eV (λ = 15.20 nm). Seventh or eighth excite state energy is 1.8669 a.u. (50.80 eV). [This should be compared to the GAMESS 16 DFT PE0 6-31+G(d,p) energy minimum (E = -1.1670 a.u.), whose virtual π* = 71.56 (degenerate pair) and TDDFT σ→π* excitation energies = 79.0 eV (λ = 15.69 nm). Calculated H-H bond length = 0.74 Å from DFT.]
At exceedingly high pressures (experimentally observed at 465-495 GPa and very low temperatures) or thought close to the core of Jupiter (whose atmosphere is mostly hydrogen), metallization of hydrogen occurs.
For the solid phase IV under certain conditions (and at a lower pressure of 200-350 GPa), this would involve promotion and extensive delocalization of electrons in 2p orbitals (or delocalized π bonds) analogous to graphene carbon units (here H6 hexagonal rings, but clearly with fewer electrons between the atoms compared to carbon). The pressure would lower the 1s→2p energy gap, by destroying the closed-shell electronic structure. This could be considered a transition phase (with some electrical conductivity and π-π Van der Waals forces) prior to achieving metallization at higher pressures.
The generation of eddy currents from conducting materials in Jupiter's swirling liquid metallic hydrogen core region give rise to the magnetosphere and aurorae. In liquid form (LMH), it is best to consider protons surrounded by a sea of mobile electrons (compare with metals, although the latter contain bound core electrons).
Metallic hydrogen is the most abundant substance in the Solar System and present in exoplanets. Hydrogen is also a common rocket fuel.
Out of the Solar System, in exceedingly strong magnetic fields (e.g. atmospheres of white dwarfs), triplet hydrogen forms perpendicular paramagnetic bonding, arising from the stabilization of antibonding orbitals in a perpendicular orientation relative to the magnetic field. This is clearly different to covalent bonding.
A U.S Air Force Senior Airmen Steven Frank, left, and Samantha Welsh, from the New Jersey Air National Guard's 108th Wing prepare for an active shooter scenario while assisted by a U.S. Marshal instructor in a V-300 VirTra firearms training simulator at a U.S. Marshal training site in Lawrenceville, N.J. on Dec. 12. The V-300 features 6 computers, 5 projectors, 5 laser tracking cameras, and hi-def audio to help create an immersive virtual experience. (U.S. Air National Guard photo by Tech. Sgt. Matt Hecht/Released)
Chillen in virtual Mousehole, Cornwall. maps.secondlife.com/secondlife/Mousehole/137/216/21
I am wearing Deluxe Barbie Box by Madison Starlight