View allAll Photos Tagged visually
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Visually, my favourite scene from the 'Impression - Liu Sanjie' show in Yangshuo, Guangxi province (China).
The show is co-directed by Zhang Yimou of the Beijing Oympics opening (and closing) ceremony fame.
The performance utilizes the natural surroundings to create a spectacular outdoor theatre which is the largest of its kind. The Li River itself is the stage and 12 karst mountains serve as the backdrop.
The show includes modern and classical music composed by famous musicians in China. There are also over 600 performers - all locals.
The show gives the viewer impressions of the life of people living around the river. It also provides an insight into the dress and music of the ethnic minorities of the area.
Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
Last week at RNIB in London we learned first hand which tools and tricks visually impaired musicians use to read sheet music. Very inspirational.
Toute reproduction sur un support imprimé ou publication sur internet devra faire l'objet d'une demande expresse auprès du service communication de la Fédération Française Handisport.
–
Toute utilisation ainsi autorisée devra mentionner le crédit photo (voir nom du fichier ci-dessus : “©…” ou métadonnées de la photo dans sa taille originale).
–
Contact : photos [at] handisport.org
Almost visually similar to the European version... except that its front turn signals are relocated to the grille, and has red rear turn signals integrated to its tail lamps.
Visually one of my favorite looking guitars in my collection...it just SCREAMS "1980s heavy metal hair bands"...the Warlock shape...the snakeskin...the pink color...the matching headstock...this one had me at "hello"...and it plays beautifully.
While visually a peculiarity among the other nobles occupying Oléon's High Council, Noorah Al-Ghareeb de La Roche de Tarzout can trace her noble lineage far back to when Oléon first arrived in Guelph. Sensing an opportunity to gain more influence and strength, Noorah's ancestral tribe was quick to ally with the northern kingdom and was a loyal ally during the ensuing civil war. Over time, the political power of the family grew through clever diplomacy and sometimes devious scheming. The tribe left the inland desert of Guelph and claimed the fortress of La Roche - the Rock - as their new home, from where they ruled Tarzout and Ouaganda first and later all of their dominions in Guelph, Oléon and the New World. They made their uncountable fortunes in agriculture and trade and own vast swathes of land throughout the Empire.
Noorah is a political power player and worked her way up into the highest echelons of Oléonese political life with patience and clever insights. Although some also suggest a more sinister path to power, which includes blackmail and other forms of subterfuge. In either case, as the head of le Bureau de Preuve, Noorah is responsible for the orderly conduct of all interior affairs of Oléon. A task she takes very seriously. A worker bee and somewhat of a control freak, Noorah has considerably expended the shadowy sections of her cabinet and keeps a close eye on possible dangerous elements within the Empire.
This image can be used by the press. To obtain permission to use this image please download and complete a permission form from www.electoralcommission.org.uk/news-and-media/media-resou... or contact the Media Relations Team on 020 7271 0704 or press@electoralcommission.org.uk.
Chan Lap Hin (Leslie) visually narrates another side of the ego, that of a supposed loser, a delivery person for a local Cha Chaan Teng (茶餐廳), someone with a low level of education who nevertheless takes a kind of clever revenge on his customers and his employer.
Ego Systems / 身份實例
Featuring the work of:
劉英傑 Lau Ying Kit (Rijk), 林安琪 Lam On Kit (Kristin), 陳立憲 Chan Lap Hin (Leslie), 余展宏 Yu Chin Wang (SteveCow), 陳卓嘉 Chan Cheuk Kar (Carmen), Siu Tsz Kuen (Patrick), 陳綺婷 Chan Yee Ting (Jill), Fan Chun Kit (Roy), 潘柬芝 Poon Kan Chi (Kit), 吳綺玲 Ng Yee Ling (Elaine), 梁家寶 Leung Ka Po (Dez)
Curated by:
Tse Ming Chong, Andrew Guthrie
These artworks are the result and apex of 3 different semester’s final assignments to Poly U students attending Andrew Guthrie’s Digital Imaging class, part of the SPEED program at The Hong Kong Art School.
The final assignment of these classes required students to create an alternate, or “fake” identity, using themselves as the subject or model. This identity was presented in the form of an Artist Book, a much-disputed genre, as no one is quite sure what that name fully indicates.
Nevertheless, this identity was presented as a sequence of images, something like pages in a book, a series of photographs, or indeed, a movie.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Toute reproduction sur un support imprimé ou publication sur internet devra faire l'objet d'une demande expresse auprès du service communication de la Fédération Française Handisport.
–
Toute utilisation ainsi autorisée devra mentionner le crédit photo (voir nom du fichier ci-dessus : “©…” ou métadonnées de la photo dans sa taille originale).
–
Contact : photos [at] handisport.org
This lovely wine was from the 2 Lads Winery. I had it with a delicious plate of snacks that included crackers, cheese, white fish pate, smoked almonds and a tiny little raspberry chocolate. Yummy!
I also posted this because I realized I had little fall color in my stream and it bummed me out. So there's a little bit of what fall looked like, reflected in the bottom of the glass.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Visually speaking this is not the most mind blowing image every created. It's more of a simplistic take of the story. Nevertheless it doesn't come close to the awesomeness of the special edition cover featuring HAL in close up. At least, it feels better than this weird scifi version of the standard DVD edition (you know, the one showing a flying space ship - which has so important for the overall story. Because, you know, he wouldn't have reached the space station without it.)
213/365
I have internet....finally!! Been without for well over a week and I'm suffering withdrawal symptoms from flickr :s I have still been taking pictures every single day and I will slowly be uploading them.
Work has been hectic as has moving house and so the stress has been plentiful, hopefully I can dedicate a large amount of time to flickr this weekend :)
This was taken on a mini stroll around my new local area, just a flower....anyone know what it is?
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of six VA national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
Toute reproduction sur un support imprimé ou publication sur internet devra faire l'objet d'une demande expresse auprès du service communication de la Fédération Française Handisport.
–
Toute utilisation ainsi autorisée devra mentionner le crédit photo (voir nom du fichier ci-dessus : “©…” ou métadonnées de la photo dans sa taille originale).
–
Contact : photos [at] handisport.org
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
I remember many years ago visually scanning the late night sky and thinking "wow, what is that??". Grabbing a pair of binoculars and later a telescope I again had the same reaction.
It was, of course, M34, a striking cluster that stands out well against the backdrop of the sky for any focal length that can contain it.
Equipment
Imaging Telescopes Or Lenses
Apertura 6" f/5 Imaging Newtonian
Imaging Cameras
QHYCCD QHY163C
Mounts
Vixen GPDX
Filters
Baader Neodymium Moon & Skyglow 2"
Accessories
OnStep Telescope Mount Goto Controller · Sharpstar 2" 0.95× coma corrector (CRC2095)
Software
Adobe Photoshop · Aries Productions Astro Pixel Processor (APP) · Stefan Berg Nighttime Imaging 'N' Astronomy (N.I.N.A. / NINA)
Acquisition details
Frames:
Baader Neodymium Moon & Skyglow 2": 148×120″(4h 56′)
Integration:
4h 56′
Basic astrometry details
Astrometry.net job: 8278073
RA center: 02h42m13s.2
DEC center: +42°45′00″
Pixel scale: 1.083 arcsec/pixel
Orientation: 78.943 degrees
Field radius: 0.867 degrees
Find images in the same area
Resolution: 3438x4622
File size: 16.4 MB
Data source: Backyard
The visually distinctive Tarboush Cafe in Loughborough town centre.
"Tarboush is a traditional yet modern Cafe with a menu inspired by the Middle East. Tarboush brings Loughborough some of the magic from the ancient world & is the ideal place to escape if you want a break from the norm. The menu offers an array of tantalizing tastes & light refreshing bites which will take you on a journey from Syria, Lebanon, Egypt, Morocco to Turkey and Greece (to name just a few) & back. The air is filled with the sweet scent of shisha, it's easy to forget where you are..."
Tarboush is the Arabic name for red hat or fez, which is traditionally worn in the Middle Eastern region as part of the traditional custom... Tommy Cooper being one of the most famous to wear this this hat.
I said to the chef, 'Why have you got your hand in the alphabet soup?' He said, 'I'm groping for words!'
I told the waiter, bring me a chicken. So he brought me a chicken. 'Just a minute,' I said, 'It's only got one leg. 'It's been in a fight.' I said, 'Well, bring me the winner.'
My wife said 'Take me in your arms and whisper something soft and sweet'. I said, 'chocolate fudge'.
Police arrested two kids yesterday, one was drinking battery acid, the other was eating fireworks. They charged one and let the other one off.
You know, somebody actually complimented me on my driving today. They left a little note on the windscreen, it said 'Parking Fine.'
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
***UPDATE*** 7/2/13 Some things are meant to swim upstream. This is heading exactly that way, where it belongs. Thanks LC.
Negotiators meet to align the different language versions of an international treaty that will improve access to published works for blind, visually impaired and print disabled people. Agreement on the substantive provisions of a treaty was reached on June 25, 2013. It will be formally adopted in plenary session on June 27, 2013 and signed on June 28, 2013. The Kingdom of Morrocco hosted WIPO's Diplomatic Conference in Marrakesh from June 17 to 28, 2013.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Photo: POH
Portraits of Hope's unprecedented Los Angeles coastline public art and civic project involving more than 10,500 kids, adults and volunteers, which visually transformed all 156 Los Angeles County beach lifeguard towers on 31 miles of beach – including Malibu, Will Rogers, Santa Monica, Venice, Marina Del Rey, Playa Del Rey, El Segundo, Manhattan Beach, Hermosa Beach, Redondo Beach, Torrance, Palos Verdes, and San Pedro. www.portraitsofhope.org
Summer of Color -- A Portraits of Hope Project
Portraits of Hope's LA County Public Art and Civic Project – LA County Lifeguard Towers
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
156 Los Angeles County Lifeguard Towers
31 Miles of Beach and Coastline
10,500 Children and Adults
118 Participating Schools, Hospitals, Social Service and Civic Institutions
350,000 Sq. Ft of Paintings
Youth and Program Sessions in Greater LA
Project-based learning: interdisciplinary contemporary issues and civic
education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for
hospitalized children and persons with
disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, visual impairments, and other serious conditions
6-month program and collaborative
phase
5-month Los Angeles County beach public art
exhibition
Close Cooperation with LA County Supervisors Zev Yaroslavsky and Don Knabe and the LA County Department of Beaches and Harbors and LA County Lifeguards
Special thank you to Image Options, Laird Plastics and Recycling, Ford Motor Company
Benjamin Moore Paints, Skinny Cow, Verseidag Seemee US, EFI Vutek, Morley Builders, Vista Paint, The Weingart Foundation, CornerstoneOnDemand, Drumstick, Chris Bonas, Casa Del Mar, Tim Bennett, Andy Boyle, Nazdar Coatings, Adina Beverages, Robert Gore Rifkind
Foundation, Helen and Peter Bing, Loren Philip Photography, Starbucks Volunteer Services,
Subversive Nature Designs, MACtac, The Barnes Family, Hasbro Studios, Wooster Brush, The Bachelor, UCLA, Mark Benjamin, Susan Kohlmann, Tomarco Fastening & Anchoring Solutions, AAA Flag & Banner, Jenner & Block, A.V.I. Construction, The Newberg Family, Debra Ricketts, The Penske Family, The Davidow Charitable Fund. Annie Barnes, UCLA Freshmen and Transfer Students, USC-UNICEF, LMU Students
On October 15, blind and visually impaired students took to the streets to raise awareness of pedestrian safety.
While visually these are amazing, they're impracticle and the upkeep is a chore:
-The plastic doesn't have breathability and your feet quickly become hot, making them unbearable for all day wear.
-The inside heel has only a thin strip of felt that is easily worn away and needs to be replaced often or the stitching behind can become frayed, splitting the shoe.
-The plastic as well will become cloudy over time and if left in light will also yellow.
-High heat and humidity areas will eventually cause the plastic to become brittle, eventually disintergrating.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
375 Water Street, Vancouver, BC.
Description of Historic Place:
The Kelly, Douglas and Co. Warehouse is a seven storey plus two lower levels, massive brick-faced warehouse building, located on the north side of Water Street on the western edge of the historic district of Gastown. This vast structure is the single largest building in Gastown, and visually anchors the west end of the district. The site slopes to the north; Water Street marked the edge of the original waterfront, and the lot was infilled to allow construction.
Heritage Value:
Gastown is the historic core of Vancouver, and is the city's earliest, most historic area of commercial buildings and warehouses. The Kelly, Douglas and Co. Warehouse is representative of the importance of Gastown as the trans-shipment point between the terminus of the railway and Pacific shipping routes, and the consequent expansion of Vancouver into western Canada's predominant commercial centre in the early twentieth century. As Vancouver prospered, substantial warehouses were built on piles on infilled water lots between Water Street and the Canadian Pacific Railway (CPR) trestle. Loading bays at the lower level faced the railway tracks, which allowed goods to be off-loaded directly from trains. The massive cubic form, high density, large clear-span floor-plate and notable height of this structure, built for a wholesale grocery firm, are a clear indication of the extent and prosperity of wholesale trade during this period. Kelly, Douglas and Co., co-founded by Robert Kelly and Frank Douglas in 1896, prospered by outfitting the Klondike gold seekers. Its location on the western edge of Gastown was also advantageous for direct sales to customers, as the central business district was developing to the west of Gastown. The original five storey section to the east was built as the Kelly and Burnett Building in 1905, and Kelly, Douglas moved there from their previous location on Water Street. The company then proceeded in 1907 with a large-scale expansion of the building to the west, which when it was complete was the largest warehouse in Canada devoted exclusively to produce. Gault Brothers moved into the original Kelly and Burnet portion of the building, but that space was again taken over as Kelly, Douglas continued their expansion in stages, eventually building out the entire site to a height of seven stories plus two basement levels. The current structure, the largest in Gastown, was completed by 1913.
The building is also valued for its association with prominent Canadian architect W.T. Whiteway (1856-1940), who also designed the Woodward's Department Store at Hastings and Abbott Streets (1903) and the World (Sun) Tower at Beatty and Pender Streets (1912), once the tallest commercial building in the British Empire. Prominent local contractor J.M. McLuckie built all of the later additions to the building. This warehouse was promoted as Vancouver's first 'skyscraper,' but despite its exterior masonry construction, was built using a massive heavy timber frame internal structure, which by the time the building was completed was an obsolete technology.
The Kelly, Douglas and Co. Warehouse is additionally valued as a representation of the rapid growth of the local food supply network, which developed in response to a booming economy and population. The utilitarian exterior is a clear indication of its original warehouse use. Now rehabilitated for contemporary office and retail uses, it contributes to the ambiance of the Gastown historic district as an illustration of the area's importance as a centre of trade and commerce for the city and the province. Its adaptive reuse within the context of the redevelopment of Gastown as a heritage area represents the changing nature of the local economy from warehousing and manufacturing to commercial, retail and residential uses.
Source: City of Vancouver, Heritage Planning Street Files
Character-Defining Elements:
The character-defining elements of the Kelly, Douglas and Co. Warehouse include:
- landmark location on the north side of Water Street at the western edge of Gastown, in close proximity to the waterfront of Burrard Inlet and the CPR station and rail yard
- spatial relationship to other Late Victorian and Edwardian era commercial buildings
- siting on the front and side property lines, with no setbacks
- cubic form and massing, evident in its consistent height, flat roof and massive floor-plate
- typical Edwardian era architectural features such as tripartite articulation into a base, shaft and capital, with expressed vertical pilasters, projecting sheet metal cornices at the storefront level (with dentils) and parapet (with block modillions), and a regular grid of structural openings
- masonry construction: brick exterior structural walls; tan pressed brick cladding on the two main facades; interior brick demising walls; rough-dressed sandstone facade elements, such as lintels, ground floor columns and capitals; and granite foundation blocks and bulkheads
- interior heavy timber frame construction, with massive wood posts tapering in size from 45 centimetres square on the lower floors to 20 centimetres square at the top; beams of similar dimensions; and solid wood floors, visible throughout the building
- large rectangular storefront openings on the two main facades, with iron I-beam headers with rosettes; and cast iron columns on the west facade
- irregular fenestration on the rear facade, with mixed segmental-arched and rectangular openings, indicating construction undertaken in stages
An illustration of why the new design is flawed from a basic usability point of view.
1) Presenting on a black screen may be quite a nice way to view a photograph, but then why have the system/flickr menu (which is irrelevant to the photograph) and a second copy of the buddy icon.
2) All the picture useful items are now crammed into one menu, not even labelled (except with ... ) on the bottom right of the screen. To be honest this is an understandable interface design in mobile interfaces, but it makes no sense here where most of the screen is wasted anyway.
3) The metadata, comments, labels etc. are most useful if seen WITH the photograph, not on a separate scrolled part of the page. Basically this one decision makes flickr just another picture website. You already had a scrolling slide show, which was not very useful, now you have made the whole interface into something that isnt very useful.
4) Basically the POINT of flickr is the metadata, tagging, sets, groups etc. Now you have focussed on the image to the exclusion of everything else. Its a bit like someones idea of a website in the early nineties...
I have used flickr a lot in my teaching, but these changes make the site considerably less useful... Basic Usability Design: (a) know your users (and that they are not all the same) (b) know what your users want to do (and realise that different users want to do different things) (c) think of the context in which a computer system is used.
Basically you have lost the basic values that made Flickr successful. The changes make it harder to do many of things that many of your users want to do. Also the over busy design simply distracts for some of the beautiful photographs. The basic idea of sharing sites is that they are as UNINTRUSIVE as possible, but still provide a lot of organisational structure, which allows users to generate semantic structures. Your redesign has in effect downgraded the organisation, and made the corporate Flickr stuff very intrusive. Its the content that users put in that makes the value of sites like Flickr, and what you have done is almost like a company telling its shareholders that it doesn't want their investment.
A group of teachers and students from the Indiana School for the Blind and Visually Impaired in Indianapolis and Indian Creek High School in Trafalgar, Indiana visited NASA Goddard Space Flight Center last week. As part of their week long stay in the Maryland/DC area they participated in tours of the Integration and Testing Facilitates and Cleanrooms at the Greenbelt campus as well as tours of Wallops Space Flight Facilities. The weeklong program was part of an effort to expose blind and visually impaired students to careers in science, technology, engineering, and math.
At Goddard they took part of hands on science activities and talked to several scientists and engineers about multiple topics; including the different space crafts used, radio emissions from Jupiter, the Hubble Telescope, and minerals.
Credit: NASA/GSFC/Debbie Mccallum
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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A visually lively leaflet, with an area diagram on the reverse, issued by the Western Region of British Railways for the new diesel multiple units that were being introduced on Cardiff and Valley area services with the promise of improved services. The introduction of the DMUs was part of the vast British Transport Commission's Modernisation Programme that sadly, in some ways and areas, was to prove a somewhat misguided affair and, in some ways, loaded the organisation with debt that added to the call for the later reorganisation that included the 'Beeching Axe' in an effort to stem the railways losses.
In many ways the new DMU services were a vast improvement - in terms of passenger comfort - and attempts were made to re-organise services, timetables and fares. In some areas this was successful but in others the impact was still seen as being insufficient to save stations and lines in later culls. The South Wales and Valley services seen here saw much retrenchment in the 1960s closures - much was lost and many stations closed. However, from the 1980s onwards much work has been undertaken to re-open various branch lines and stations to passenger service and, currently, many of the lines are seeing a real renaissance as Transport for Wales are investing heavily to bring new standards of service to the area as part of their Metro system.
The front of the leaflet has quite a variety of typefaces to 'catch' the eye and uses decal based on a scraperboard or Windsor Board illustration of a speeding DMU; this is possibly by A.N. Wolstenholme who did much such work for BR.
Delegates applaud adoption of a new international treaty that will facilitate access to published works for blind, visually impaired and print-disabled persons. The treaty was formally adopted on June 27, 2013. The Kingdom of Morrocco hosted WIPO's Diplomatic Conference in Marrakesh from June 17 to 28, 2013.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of six VA national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
Blind representatives and government delegates on June 25, 2013, celebrate agreement on the substantive provisions of an international treaty that will improve access to published works for blind, visually impaired and print disabled people. The treaty will be formally adopted in plenary session on June 27 and signed on June 28, 2013. The Kingdom of Morrocco hosted WIPO's Diplomatic Conference in Marrakesh from June 17 to 28, 2013.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
This kindergarten in Tiraspol received support through two sub-projects: "Rehabilitation of visually impaired children from both banks of Nistru River" and "Enhancing capacities for pre-school education in the city of Tiraspol through reconstruction of the kindergarten no. 44 for visually impaired children", implemented within the “Support to Confidence Building Measures” Programme (Summer 2016).
WIPO Director General Francis Gurry (second from left), Morocco's Minister of Communications and Government Spokesperson Mustafa Khalfi (third from left), and members of the WIPO Secretariat applaud adoption of a new international treaty that will facilitate access to published works for blind, visually impaired and print-disabled persons. The treaty was formally adopted on June 27, 2013. The Kingdom of Morrocco hosted WIPO's Diplomatic Conference in Marrakesh from June 17 to 28, 2013.
Copyright: WIPO. Photo: Hicham Rachidi. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Photo: POH
Portraits of Hope's unprecedented Los Angeles coastline public art and civic project involving more than 10,500 kids, adults and volunteers, which visually transformed all 156 Los Angeles County beach lifeguard towers on 31 miles of beach – including Malibu, Will Rogers, Santa Monica, Venice, Marina Del Rey, Playa Del Rey, El Segundo, Manhattan Beach, Hermosa Beach, Redondo Beach, Torrance, Palos Verdes, and San Pedro. www.portraitsofhope.org
Summer of Color -- A Portraits of Hope Project
Portraits of Hope's LA County Public Art and Civic Project – LA County Lifeguard Towers
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
156 Los Angeles County Lifeguard Towers
31 Miles of Beach and Coastline
10,500 Children and Adults
118 Participating Schools, Hospitals, Social Service and Civic Institutions
350,000 Sq. Ft of Paintings
Youth and Program Sessions in Greater LA
Project-based learning: interdisciplinary contemporary issues and civic
education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for
hospitalized children and persons with
disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, visual impairments, and other serious conditions
6-month program and collaborative
phase
5-month Los Angeles County beach public art
exhibition
Close Cooperation with LA County Supervisors Zev Yaroslavsky and Don Knabe and the LA County Department of Beaches and Harbors and LA County Lifeguards
Special thank you to Image Options, Laird Plastics and Recycling, Ford Motor Company
Benjamin Moore Paints, Skinny Cow, Verseidag Seemee US, EFI Vutek, Morley Builders, Vista Paint, The Weingart Foundation, CornerstoneOnDemand, Drumstick, Chris Bonas, Casa Del Mar, Tim Bennett, Andy Boyle, Nazdar Coatings, Adina Beverages, Robert Gore Rifkind
Foundation, Helen and Peter Bing, Loren Philip Photography, Starbucks Volunteer Services,
Subversive Nature Designs, MACtac, The Barnes Family, Hasbro Studios, Wooster Brush, The Bachelor, UCLA, Mark Benjamin, Susan Kohlmann, Tomarco Fastening & Anchoring Solutions, AAA Flag & Banner, Jenner & Block, A.V.I. Construction, The Newberg Family, Debra Ricketts, The Penske Family, The Davidow Charitable Fund. Annie Barnes, UCLA Freshmen and Transfer Students, USC-UNICEF, LMU Students