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There is hardly ever a day that I miss being at the waters edge. All my life I have lived near or at the waters edge… I can’t imagine not.
"Survivor: a story in four quotes"
and "Hamlet Revisited: a short visual narrative"
are currently available as e-books at
Previously, both stories were part of an installation at
Virtual Senses Storytelling Lab on Chilbo (Second Life).
Y todo pasa.
Y todo permanece.
Como imágenes que pasan a cámara lenta y se mantienen en la memoria.
Persistencia retiniana.
De lo pasado, lo sufrido y lo olvidado sin olvidar.
Una marea, una ola, una onda que sin mas se acerca y te empapa.
Y esa humedad te cala.
Te enferma.
Todo pasa.
Pero todo permanece.
School of Art and Art History at University of Iowa in Iowa City, Iowa. Designed by New York City architect Steven Holl.
Timnit Gebru wants to replace the U.S. Census (which costs $1B/year to implement) by simply analyzing the cars seen in Google Street View images.
After processing 22 million observed cars, she found some fascinating things, like the predictive power of "the sedan/truck ratio" for political party. Republicans sure like trucks! More findings in the comments below.
From the AI in Fintech Forum today at Stanford ICME.
#landcarlos1 #sx50carlos1 #2014carlos1 #piedadecarlos1 #instagram
UM LINDO VISUAL...
- Este jogo de sombras e luz, que adoro, me faz lembrar de uma colega de trabalho... a Beatriz. Ela também adora fotos, mas não é muito fã de sair...
- No chão o que se encontra no céu...
A BEAUTIFUL LOOK...
- This play of shadows and light, which I love, reminds me of a coworker... Beatriz. She also loves photos, but she's not much of a fan...
- On the ground what is in the sky...
For those who never saw the Visual Graphix releases from the 90`s....You can watch vol.2,4 & 5 here...Be sure to check the Brighton sections...
Vol.2 - www.youtube.com/watch?v=aQmto0PqB68
Cliente: Visual Wave
Foto: Diego Castanha
Model: Leonardo Agra
Beauty: Joaquim Júnior
Produção: Patricia Cox
This is a set of 5 over-sized postcards of some of my visual journal pages. Each glossy postcard represents a journal spread, and is 8.5" x 5.5". The printing quality is so good, you can read my writing and feel what I was feeling when I created the journal page. Keep it for yourself for art inspiration, or mail it. The back is blank, except for my information, so you can write a note and address it.
Ayotzinapa Vive: Carnaval del Día de Muertos: 26 Mill Street and Bregamos Community Theater, 492 Blatchley Avenue, New Haven, Connecticut, Saturday, November 5, 2016.
As many of you, I am a very visual person, so these kind of images wake my senses up!!
Somehow, these colours feel good to my eyes.
Hope you like it too =)
Part of my dissertation study on food eateries of this particular laneway in Perth, which is filled with restaurants. Shot was taken from a pub opposite to another eatery. The openess of this outdoor area allows visual connection with the "street" and the people eating next door. It is all about the human scale and interaction :)
We all like to to people watch in my opinion, street photographers just like to capture such things :)
Hope this study leads to something next semester lol.
Thanks for the visit!
Before we even started, this items are made in newest Second life Technology named PBR, so if you don't have this viewer, please take your time and explore what viewer work best for you
You are a Rockstar, be a rockstar. We made this top to fit Maitreya FlatX, Legacy V-Tech boi chest, Anatomy, Kupra Kups Flat, and Ebody Reborn V-tech. It comes with option Hud where you can change style as you like it. Earrings are fit for all, no rigged, and comes with metal option Hud.
I want to recommended to try DEMO before purchase, cause there is a notecard where you can contact me and tell me where is the issues, like glitch or oversized.
If you find me interesting, please give me a follow, i will appreciate it
I wish you all the best day ever.
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Event is over so you can find this item here:
I did many versons of this. But I will only post two. this and the next one. I felt that this looked like a big eye. I really am liking the look here.
Mike
Michael and Albert (AJ) Patnode - Artist Statement
Father and son collaboration
Our photographic art is a kinetic motion study, from the results of interacting with my son A.J and his toys.
He was born severely handicapped much like a quadriplegic. On December 17,1998. Our family’s goal has always been to help A.J. use his mind, even though he has minimal use of his body.
A.J. likes to watch lights and movement. One of the few things he can do for himself is to operate a switch that sets in motion lights and various shiny, colorful streamers and toys that swirl above his bed.
One day I took a picture of A.J. with his toys flying out from the big mobile near his bed like swings on a carnival ride. I liked the way the swirling objects and colors looked in the photo.
I wanted to study the motion more and photograph the whirling objects in an artful way, I wanted my son A.J. to be a part of it. After all, he’s the one who inspires me. When A.J. and I work together on our motion artwork, A.J. starts his streamers and objects twirling, I take the photographs.
Activating a tiny switch might not seem like much to some, but it’s all A.J. can do. He controls the direction the mobile will spin, as well as when it starts and stops. The shutter speeds are long, and sometimes, I move the camera and other times I hold it still.
I begin our creation with a Nikon digital camera. Then I use my computer with Photoshop to alter the images into what I feel might be an artistic way. Working with Photoshop, I find the best parts from several images and combine them into the final composite photograph. I consider the finished work to be fine art. The computer is just the vehicle that helps my expressions grow.
I take the photographs and A.J. adds the magic. It’s something this father and son do together. After I’ve taken a few shots, I show him the photos in the back of the camera. When the images are completed, I show him from a laptop. He just looks. He can’t tell me whether or not he likes the images, but he’s always ready to work with me again.
It offers me my only glance into A.J.’s secret world. We’ve built a large collection of images and I hope the motion and color move you as much as they do me.
A.J. inspires me to work harder to understand my life in the areas of art, photography, people, spirituality, and so much more. He truly sets my mind in motion and helps me find the beauty in everyday things.
AJ Patnode - A Journey of Hope (documentary):
www.youtube.com/watch?v=OR7m8QFcmRM
AJ'S blog:
Abstract set:
www.flickr.com/photos/patnode-rainbowman/sets/72157602269...
Forbidden Planet 1956, “Behind the Scenery”
The visual effects of FORBIDDEN PLANET...William Shakespeare in outer space.
Special effects supervisor - A.Arnold Gillespie
Matte painting supervisor - Warren Newcombe
Optical effects - Irving G. Ries
Matte painters - Howard Fisher and Henri Hillinick
Assistant matte artist - Matthew Yuricich
Miniatures cinematographer - Maximillian Fabian
Effects cameraman - Harold Mazorati
Supervising matte cinematographer - Mark W. Davis
Assistant matte cameraman - Dick Worsfield
Visual effects editor - Ben Fugelsby
Miniatures - Glen Robinson
Special mechanical effects - A.D Flowers, Jack McMaster, Logan Frazee, Bob MacDonald, Chuck Frazier, Dean Pearson, Joe Zomar, Earl McCoy, Max Gebinger, Dion Hansen and Eddie Fisher
Robby the Robot designer - Bob Kinoshita
Animation supervisor - Joshua Meador
Effects key animation - Dwight Carlisle
Animators - Joe Alves, Ron Cobb and Ken Hultgren
Effects animation cameraman - Art Cruikshank
Supervising scenic painter - George Gibson
The film FORBIDDEN PLANET was to a large extent a peculiar merging of the talents of England's best selling 16th Century quill penned novelist William Shakespeare and 20th Century matte painter Irving Block - a more curious set of bedfellows you'd be hard pressed to find. What is evidently Shakespeares The Tempest was updated - seriously updated in fact, into a science fiction future far removed from what Willy ever would have imagined.
This science fiction re-imagining was largely the concept of both Irving Block and Allen Adler. Block was a long time matte painter with Fox and MGM before branching out as an independent effects concern in the early fifties with partners optical fx cameraman Jack Rabin and title artist Louis DeWitt.
Part of the success, which as far as I'm aware was not immediate and took decades to be realised, was due to the wonderful look of both the alien world and it's vast sub-terranean machinery, but also the screens' newest and, until a later sensational Irwin Allen tv variation, it's Robot - affectionately known as 'Robby'.
MGM effects doyen Buddy Gillespie
Buddy's multiple talents also extended into cartoon animation for the studio as I found out by accident just the other day. where his name cropped up in the credits of an old cartoon. Gillespie passed away in 1978 with an armful of Oscars amid his numerous accolades. Working alongside Gillespie was his long time partner, the Austrian born miniatures cinematographer Maximillian Fabian, who had been with the studio for more than twenty years at this point, having photographed the stunning miniature scenes of destruction for James Basevi and Gillespie on SAN FRANCISCO in 1936, the jaw droppingly realistic bomb run set piece for 30 SECONDS OVER TOKYO (1944) and similar flaming conflagrations with Buddy and Donald Jahraus on Mervyn LeRoy's epic QUO VADIS in 1950 - three amazing high points in Fabian's long, celebrated career.
A trio of matte artists painted on FP under Newcombe - Howard Fisher, Henri Hillinick and Matthew Yuricich
As an interesting sideline to Newcombe's headship of the matte unit, Irving Block, who himself was a matte painter under Newcombe at one stage said in a 1979 interview in Cinefantastique: "Warren never touched a brush...He was my friend and I worked for him, but Warren Newcombe never did anything. He sat in his office and played around with his shortwave radio calling his friends to play chess"
The film was up for the effects Oscar against John Fulton's THE TEN COMMANDMENTS - and while that's a tough choice I'd probably go with the Fulton film for the arguably astonishing Red Sea set piece - matte lines and all, as it was an amazing engineering and photographic achievement with more optical tweaks than all of FORBIDDEN PLANET put together. I fully expect some criticism here of my choice naturally.