View allAll Photos Tagged visually
Submitted by: Chibuzo Orame
Country: Nigeria
Organisation: Bina Foundation
Category: Professional
Caption: Doctor close eyes examination of visually impaired player during the 2018 men blind/visually impaired summer camp/league tournament in Nigeria.
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Photo uploaded from the #VisionFirst Photo Competition (photocomp.iapb.org) held for World Sight Day 2019
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.
Recording legend Stevie Wonder (center) congratulates international negotiators who concluded a new treaty easing access to books for the blind, and urged national lawmakers to swiftly ratify the accord and unlock its benefits for hundreds of millions of people around the world who are blind, visually impaired and print-disabled. WIPO Director General Francis Gurry (left) and Morocco's Minister of Communications and Government Spokesperson Mustafa Khalfi (right) also called for a quick ratification of the treaty. 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.
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).
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.
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.
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.
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.
#AbFav_MONTH_of_DECEMBER_🎀
I am always on the look-out for visually interesting props, this is obviously a set of fibre optic lights, consists of 6 balls which I arranged in different ways to get a pleasing composition.
The light-guiding principle behind optical fibres was first demonstrated in Victorian times when the total internal reflection principle was used to illuminate streams of water in elaborate public fountains, but modern optical fibres were only developed in the beginning of the 1950's.
An optical fibre is a flexible, transparent fibre made by drawing glass (silica) or plastic to a diameter slightly thicker than that of a human hair.
Daniel Colladon and Jacques Babinet first demonstrated the guiding of light by refraction, the principle that makes fibre optics possible, in Paris in the early 1840s.
Now that we are back on Winter time, it is dark very early, the weather's gone bad, I've had plenty of time to think and be creative in the studio once more.
And we NEED light and joy more than ever!
I am enjoying the burst of creativity, I wish you all a day full of light and THANK you for your visit and comments, so appreciated, Magda (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
Fibre-optics, white, tips, lights, balls, six, triangle, shape, black-background, colour, design, studio, square, Hasselblad, "Magda indigo"
Very easily recognize, visually, when there is light in the night. And it's clear it's useful so that we can find our bindings, and know where we must go to.
But visually it's very easy. What about ourselves? Transparency and honesty are always a tremendous help, as it's cleanness always allows us to distinguish more light. And to get to this transparency and honesty the search for the Truth is quite needed. Not only when it's easy and evident. But especially when it is difficult and when an effort is needed. It is within this effort, or suffering as Gandhi (and so many more) would say, that we find a bigger human advance.
After all, ... darkness isn't anything else than absence of light. In all respects.
See where this picture was taken [?]
Bien reconocemos, visualmente, cuándo hay una luz durante la noche. Y bien nos sirve para orientarnos, y saber dónde estamos, o hacia dónde ir.
Pero visualmente es muy fácil. ¿Y nosotros mismos? La transparencia y honestidad siempre nos son de enorme ayuda, puesto que esa limpieza siempre permite distinguir más luz. Y para llegar a esta transparencia u honestidad siempre es necesaria una búsqueda fiel de la verdad. No tan sólo cuando sea fácil y evidente, sino especialmente cuando sea difícil y suponga un esfuerzo. Y es este esfuerzo, o sufrimiento como diría Gandhi (y tantos otros), el que permite un mayor avance humano.
Al fin y al cabo, ... la oscuridad no es nada más que la ausencia de luz. En todos los sentidos.
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: Barbara Jansen
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
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.
My apartment building has a large trash and recycling area that I can visually inspect from my unit. Generally, most of the larger articles of furniture are things like old mattresses and bed frame and most of the other home furnishings tend to be cheaper press board construction with the vinyl fake wood grain print on it. Once in a while, there's the odd table with solid wood legs made out of oak or pine and I try to grab those when I can actually spot them. But generally, finding anything made of decent solid wood that isn't completely damaged beyond hope is a rare find for my building. But a few days ago, this piece in the picture above, appeared on the scene sitting beside a shorter all wood cart that likely served as a TV stand with storage below. That piece was cheaply made and all I removed off of that were the lower doors, the one drawer and some of the metal hardware. It was not a Gibbard product!
This dresser, ready and waiting for the garbage truck to smash it to bits and haul it off to the landfill seemed to silently cry out to me; "Save me, Jeff! I want to live!" So I went back to my unit with the drawer and lower doors from the lesser unit, got my trusty old moving dolly, (with two extremely flat tires) and rescued this fine old girl from a stinky, toxic grave! :)
This likely depression era dresser was constructed of solid walnut with the exception of the drawer bottoms, which are a primitive plywood affair with a 1/8th" walnut slice glued to a 1/16th" slice of spruce for added rigidity.
At first glance, while still outside in the service yard, it was actually somewhat difficult to figure out what kind of wood it was because a dark brown stain was used on much of the exterior sides, legs and top of the dresser with several coats of varnish or shellac on the exterior drawer fronts. So a massive amount of the grain detail of the wood was essentially hidden and lost to the end user. I could see why they chose to do that as they weren't using quarter sawn, matched pieces to build it. There was more just a looser general visual match-up to get the planks together for the glue up of the larger top and side panels, which are all 13/16ths thick, 5, 7 and 8 inch wide planks; same size as all the drawer heights.
So on top of the engineered "camouflage factory stain", there were, and still are, decades of wear on the finish from its previous owner(s); the insides of a couple of the drawers were especially bad with some type of liquid goop that spilled open and left a hardened crust like residue that just looked nasty! lol There were additionally the usual dings, dents, gouges, broken off corners from careless use, paint splatter on all the places you'd expect to see when you don't properly cover over your stuff before the paint rollers fly into action on your walls and ceiling! You know...Wear!!! :)
But I've now completed the process of taking it completely apart and have started on the restoration process of refinishing the worst looking surfaces and cleaning up the rest, which are still in decent shape. I should probably also add that the factory dark brown finish was probably far less of a visual impedance when it was all new and decently clean with no obvious scratches or mars on the finish. Gibbard was said to have a 22 step finishing regiment on woods such as this type, wonderful walnut! So it no doubt gleamed when it was new.
At this point though, I'm of two minds on whether to simply put it all back together again, as designed or to make some modifications to it to build and re-purpose it into a fancy tool chest table stand/secondary prep station with lower storage bays and drawers for my fledgling woodworking hobby, and make use of the leftover solid walnut lumber for some of my other ongoing projects. I'm still working on early design stage of all that...stay tuned for ongoing developments! :).
Cheers! :)
Humm.. Visually our engine didn't seem to be running through the flight. The blades were not turning. When we deplaned I asked the pilot if he flew in on one engine and said no it was normal for these blades on this engine model (JT8D-17) not to turn. I'm not a technical expert of any sort.. I always thought the purpose of engine blades was to turn so as to generate suction into the engine to create thrust... Does anyone know what these "blades" are for on this engine if in fact they don't move in flight? Obviously they are not real engine blades. Some sort of protection in front of the actual blades running behind them perhaps? It kinda creeped me out a little especially since the plane kind of listed to my side for most of the flight.
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.
A comment from the Irish Amateur Wrestling Association
"Inclusiveness is key! This was spectacular.
A visually impaired wrestler competing in a main stream championship wrestling tournament. Arron, from Portlaoise Combat Academy Vs Peyton from Mohawk Valley Wrestling Club NY. One of the wrestlers was visually impaired, so to even out abilities, both wrestlers were blind folded.
Well done to Referee John for his experienced approach to this bout.
Great sportsmanship & wrestling from both."
The Irish Open 2022 Freestyle Wrestling Tournament was held on Saturday 15 October 2022 at :-
The National Sports Campus
Snugborough Rd,
Blanchardstown
Dublin
D05 EPN4
More than 160 wrestlers, representing 33 clubs were in action at the Sports Campus Ireland National Indoor Arena in Blanchardstown.
The I.A.W.A' s biggest championship yet! Was organised on 3 mats with wrestlers from clubs around Ireland and the World!
There were wrestlers from Ireland, the UK, the USA and more!.
Visually the cupcakes are quite stunning, and look incredible. Tastewise they leave something to be desired. Some were bland, and didn't leave much of an impression on me, except for the one in the center which was supposed to be a chocolate mint, that one I remember cause it tasted like toothpaste.
All photos in this set taken by JEX, all text written by me, unless otherwise noted.
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.
Being visually literate means to see poetic meaning in even the smallest and most pedestrian on details. We are surrounded by object D'Art at every moment. Life is incredibly poetic, however our eyes are veiled in the patina of ephemeral and transitory external events.
What is an outliner?
An outliner is simply a hierarchical editor that allows logical organisation of information visually showing a heirarchy of parent, child relationships. Outliners work because it is thought the heirarchy storage is somegthing that humans grok. [0]
Why do I need one?
The reason I need the outliner is simple. I need to be able to link blocks of information, links, text entries, images all in some form of hierarchy. I simply can't do this with the current set of blocks I have and hence the post, "Playing with blocks on the floor" [1].
For any particular post I need some way of having say a text entry with the Entry block. Then at some time in the future I may add say 3 more comments related to that entry, a photo and several link blocks. All this can be acheived if I create an outlining block that acts as a skeleton that I can add extra blocks to.
In essence the Outliner block is really just a connector that points to a parent and/or a child block. At the same time have a one to one relationship with an Entry, Link, Image block.
Above picture
The above picture shows that I can add various blocks together. The key bit is with a Outline block it holds together this structure. Think of the Outline block as just a connector on a block allowing them to be connected. The Outliner allows you to connect blocks together.
Just what I want.
More about Outliners?
Outliners are the child idea of Doug Englebart [2] and has been continued extensivly by Dave Winer [3]. During the course of this write up I was listening to Dave on Outliners [3] and reading various references to Outliners [4], Dave Winer explaining outlining & programming [5], Doug Englebart [6] and Dave Winer meeting Doug Englebart in 2000 [7].
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References
[0] As heard in Dave Winers Interview on ITConversations, "Behind the Mic" with Doug Kaye, 1:09:05, 31.6 mb, recorded in 27/OCT/2004.
http://www.itconversations.com/shows/detail260.html
[Accessed Friday, March 30 2007]
[1] Bootload image on flickr, 2007MAR231514, "Playing with blocks on the floor"http://flickr.com/photos/bootload/431100768/
[Accessed Friday, March 30 2007]
[2] Wikipedia, Doug Englebart, "Wikipedia entry on Doug Englebart"
http://en.wikipedia.org/wiki/Doug_Engelbart
[Accessed Friday, March 30 2007]
[3] ITConversations, Dave Winer, "Behind the Mic with Doug Kaye, 1:09:05, 31.6 mb, recorded in 27/OCT/2004"
http://www.itconversations.com/shows/detail260.html
[Accessed Friday, March 30 2007]
[4] Google search, "dave winer & outliner"
http://www.google.com/search?q=dave+winer+outliners
[Accessed Friday, March 30 2007]
[5] Dave Winer, Outliners & Programmers, "Dave explains a bit of his history with outliners"
http://davewiner.userland.com/outlinersProgramming
[Accessed Friday, March 30 2007]
[6] Doug Englebart, "Dougs website, Bootstrap Institute"
[Accessed Friday, March 30 2007]
[7] Dave Winer meeting Doug Englebart, "Dinner with Doug Engelbart Friday, October 6, 2000"
http://davenet.smallpicture.com/2000/10/06/dinnerWithDougEngelbart.html
[Accessed Friday, March 30 2007]
Photo: Daniel Etya’ale.
Published in: Revue de Santé Oculaire Communautaire Vol. 4 No. 4 Août 2007 www.revuesoc.com
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.
For the Communication Design 2 course, students are asked to design the cover and interior of a famous book in the public domain. Arcelia Ocana chose to visually tell the story of Jules Verne's Around The World In 80 Days. She used text from the book to illustrate a portrait of the author himself for the cover.
Learn more about VFS's one-year Digital Design program at www.vfs.com/digitaldesign.
A visually impaired class member prepares her soap dish for decoration during a pottery lesson held at Croydon Visual (the working name of Croydon Voluntary Association for the Blind). Photo description: Gittè Araki is a change maker and pottery teacher. She leads a weekly class for the visually impaired at the CVAB community centre, a social hub for the blind people of Croydon. The class focuses on giving members a creative and tactile experience, whatever their level of sight or skill. Gittè inspires class members with her irrepressible enthusiasm, encouragement and individual attention. In this picture, Jean is preparing to decorate a soap dish made from rolled clay. Using limited vision, she is masking off some areas with newspaper, before applying a coloured slip glaze in order to create a striped pattern. Croydon Visual provides a wide range of services for the visually impaired community. Activities include art, yoga, skittles and dancing, in addition to practical help with independent living skills. The organisation and those who run it, touch the lives of a vast number of people. Gittè is one of many change makers who work and volunteer at CVAB.
The most visually beautiful aspects of the Sainte-Chappelle, and considered the best of their type in the world, are its stained glass for which the stonework is a delicate framework, and rose windows added to the upper chapel in the 15th century. (Wikipedia)
My short travelogue on this wonderful chapel.
The Shanghai Inter-City Pavilions’ Project focuses on the interesting connections and energy exchanges between people and cultures which, in nowadays globalized world, are more likely to be identified within local communities rather than in national contexts.
Shanghai in its quest to become an international city, considered by many a ‘foreign” city in China, can find its own identity through the confrontation with other places, harbors and friends, that had portrayed the contemporary status of art not in a generic way, but in the punctual and relevant projects presented in each pavilion.
So, despite this general and global tendency of amalgamation and simplification, the City Pavilions’ Project stands as a memento of independence of the extraordinary local. The individuality as an irreplaceable fragment of a bigger pictures that, with no pretentions of representing the whole, gives a glimpse of it, suggesting one of the many possible interpretations as a verse of a much more complicated poem.
The cities presented are in alphabetical order and followed by the curatorial team/organization:
Amsterdam Henk Slager, Antwerp Phillipe Pirotte, AucklandVincent Ward, Bandung Agung Jennong / Charles Esche / Defne Ayas / Davide Quadrio, Barcelona Julia Morandeira, Berlin Peter Anders, Bogota Juan Andres Gaitan, Brooklyn Cleopatra’s, Daejeon Kim Jiyon, Dakar Koyo Kouoh, Detroit Rebecca Mazzei, Diankou Qiu Zhefeng, Dusseldorf Beate Reifenscheid, Qi Yang, Istanbul Defne Ayas / Davide Quadrio, Lille Metropole Pierre Giner, Lima Jose Carlos Mariategui, Jorge Villacorta, Los Angeles Lauri Firstenberg, Mexico City, Magali Arriola, Daniela Perez, Moscow Nikolai Molok, Mumbai Diana Campbell/ Susan Hapgood, Palermo Laura Barreca / Davide Quadrio, Pittsburgh Chelsea Haines, Rhone-Alpes (Lyon) Thierry Raspail, San Francisco Chris Fitzpatrick, Sao Paulo Adriano Pedrosa, Sendai Shimizu Tamotsu / Kai Kenji, Sydney Aaron Seto / Toby Chapman / Sharon Chen as Curatorial project manager of the Sydney City Pavilion, Tehran Nina Moaddel / Benham Kamrani, Ulan Bator Uranchimeg (Orna) Tsultem, Vancouver Daina Augait.
Supervised by: the 9th Shanghai Biennale chief curator Qiu Zhijie and co-curators Boris Groys, Jens Hoffman and Johnson Chang Tsong-zung
Organized by: The Organizing Committee of Shanghai Biennale; managed by Davide Quadrio, Francesca Girelli and Huang Mi. In collaboration with Shanghai Huangpu district government.
The Shanghai Inter-City Pavilions’ Project takes place in the frame of 9th Shanghai Biennale “Reactivation”. Time: 2nd October 2012 to 31st December 2012
NWA 17502 is visually pleasing, the typical rock found on the lunar surface, itself a capsule reflecting the bombardment the moon has received, smashing rocks together by numerous meteor strikes.
This is a central slice from the single stone, classified as a lunar fragmental breccia. "Electron microprobe analysis confirms a lunar fragmental breccia with plagioclase-rich lithic clasts, mineral clasts of olivine and pigeonite, and shock melt. Major phases are plagioclase, pigeonite, and olivine."
It was found in 2024 in the Sahara desert, where it stuck out against the yellow sands. 6" x 3.5" x 2mm and 69g
Visually this figure looks great, but he does gave some issues.
This Zombie "explodes" by pressing his tie, his arms & head pop off. The popping mechanism is fine, but this causes issues when putting him back together. If I push one arm in too hard the other arm pops off. The edges that hold the arms in place are not very tight and that is why the arms keep popping off.
Another issue is that the reason I push in the arms a little harder is because there are obvious gaps between his body & arms due to the popping off action. The gaps bug me so I try to get the arms as tight & close to his body as possible.
As I said, the zombie looks great but the mechanics on this zombie are not so great. If they could just make the edges tighter on the arms & fix the spacing this figure would be awesome. I give it an . . .
8.5 out of 10
***UPDATE*** 7/2/13 Some things are meant to swim upstream. This is heading exactly that way, where it belongs. Thanks LC.
Its the most impressive Windsor style chair on the planet, like a Windsor chair taking human growth hormones and deer antler spray.
I love that these leaves are so huge leaving very little negative space. I think it's really interesting visually.
A monument in the courtyard at the provincial legislature of Alberta in Edmonton. Approximately life-sized saintly figure holding an interesting stained glass structure.
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.
The Mermaid Whistles - Lillebælt, Fredericia, Denmark. A bathing facility for visually-impaired swimmers.
24 December 2019.
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.
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Toute utilisation ainsi autorisée devra mentionner le crédit photo (voir nom du fichier ci-dessus : “©…” ou métadonnées de la photo dans sa taille originale).
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Contact : photos [at] handisport.org
visually, it doesn't look like much more than a brass bowl... but as soon as the wooden pedstal is put in use... a soft, resonating tone starts building
22-year-old Azer Ćatović was born in Mostar, and has been living here for 14 years. Azer grew up with a sight defect, but by secondary school, he had become fully independent thanks to his education.
As he awaits the start of the second academic year, he spends his summer break doing running training sessions, reading, and taking walks. He does most of his running sessions on a treadmill in the fitness hall of the Center for Blind and Visually Impaired Children and Youth.
The centre was recently renovated by UNDP and offers full time support in learning and other skills like mobility, self-care, and sight exercises for the visually impaired, use of teaching aids, playing games, going out to town and attending events.
Read more: bit.ly/35fhLVw
Photos: Sulejman Omerbašić/ UNDP Bosnia and Herzegovina
India’s Permanent Representative to the United Nations in Geneva Dilip Sinha (front left) presented WIPO Director General Francis Gurry (front right) on June 30, 2014 with his country's instrument of ratification to the Marrakesh Treaty to Facilitate Access to Published Works for Persons Who Are Blind, Visually Impaired or Otherwise Print Disabled. India is the first nation to ratify the Marrakesh Treaty, which comes into force after 20 ratifications or accessions.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
22-year-old Azer Ćatović was born in Mostar, and has been living here for 14 years. Azer grew up with a sight defect, but by secondary school, he had become fully independent thanks to his education.
As he awaits the start of the second academic year, he spends his summer break doing running training sessions, reading, and taking walks. He does most of his running sessions on a treadmill in the fitness hall of the Center for Blind and Visually Impaired Children and Youth.
The centre was recently renovated by UNDP and offers full time support in learning and other skills like mobility, self-care, and sight exercises for the visually impaired, use of teaching aids, playing games, going out to town and attending events.
Read more: bit.ly/35fhLVw
Photos: Sulejman Omerbašić/ UNDP Bosnia and Herzegovina
CHELTENHAM ART GALLERY AND MUSEUM COMPETITION REPORT September 07
Invitation: An inviting, open, accessible and visually engaging intervention in the streetscape
Journey: Creating a clear, logical and inspiring circulation route
Flexibility: Clear organisational strategy allowing for the flexible use of the building
Urban Strategy/Architectural form/ Invitation:
The new extension respects the general scale of Clarence Street and at the same time gives an expression of the functions contained at the various levels of the building.
The facade is open at the base to draw passers by into the folds of the building and experience glimpses of the exhibition objects signifying the nature of the building. The public facilities including the café and shop are also at this level. The café can spill out onto the street and to the covered loggia. The loggia is contained by the activity of the education suite on the ground floor and the more protected archive and study area on the first floor. These activities benefit from protected glazed walls looking onto the street.
A double height cut into the new facade, in conjunction with a projecting glass display, signifies the location of the main entrance. This entrance route connects through the building from Clarence Street to Chester Walk creating an important link though the site to the centre of town, extending the public domain.
The façade at the second floor level is generally solid as this contains the main exhibition galleries. The façade steps up above the entrance to reflect the location of a double height gallery space.
Roof terraces at the third floor level allow staff and visitors to the meeting room/hospitality area, a view over the city. This articulation of the façade allows for controlled daylighting into the upper level of the gallery.
Journey:
The secondary space of circulation is the event of the building, as important to the overall experience of the building as the primary gallery spaces. This journey gives a sense of the unfolding experience and order of the building. The journey starts on Clarence Street with the signal and invitation proffered by the projecting glass display and continues through to the main reception in the full height foyer.
To aid orientation the vertical circulation revolves around this foyer with an open stair running parallel to the through route and a series of bridge crossings into the small galleries behind no. 51. The visual invitation to these various levels of gallery space is received in the entrance foyer.
Organisation/flexibility:
The activity of the education suite, located on the ground floor, is visible from the protected loggia. This function can be relocated to allow for public access to the ground floor of the existing library when this becomes available in the future.
The publicly accessible archive and storage area is located on the first floor. Further storage is located on the ground floor and in a basement area.
The temporary gallery, including the existing Arts and Crafts Gallery, occupies the whole of the second floor of both the new extension and the existing and revamped 1989 building. This allows for maximum flexibility in the use of the gallery and facilitates a natural connection in to the existing galleries in the library building.
Whilst not part of the competition site, the ground floor of No. 51 is ideal for use as the café and this has been included in the proposals. It is noted that No. 51 is to be used for artist’s studios. In this context it has been considered a possibility, while providing a new staircase for the new gallery that this could also double up as the stair for the artist’s studios. This would allow for the removal of the rather haphazard existing stair to create more useful studio space. This is, of course, subject to listed building approval.
Materials/services/sustainability:
It is important that the whole design contributes to the sustainable agenda. This includes:
street spaces (loggia) to encourage a range of informal activities
an efficient building form to reduce the amount of heat loss from the envelope
controlled daylighting to appropriate areas to reduce energy requirements
solar shading to south facing glazing
use of natural and renewable materials
habitable roof and rainwater harvesting
The façade is to be constructed of Bath stone laid in random ashlar courses. This stone façade turns into the building and forms one wall of the main public staircase culminating in the lift tower. This together with the stone flooring gives the appropriate signals to the public route through the building and up into the gallery. The internal walls will be a natural lime render in the circulation routes. Painted timber panels will be utilised in the exhibition spaces to allow for flexibility of hanging artworks.
To achieve a sustainable design to meet BREEAM excellent rating, it is proposed to use both natural and renewable materials. Prefabricated, cross laminated timber panels are proposed for floors walls and roof structure. These are from a renewable resource, eliminate site wastage and allow for ease of fixing for art works.
An accessible green roof is proposed for part of the new roofscape in conjunction with rainwater harvesting.
Due to the deep plan and the nature of the exhibits, the gallery will require constant artificial illumination. It is proposed to use a combined heat and power plant to replace the existing gas boilers in the roof space of the 1989 building. This will supply the electricity for the lighting system and the waste heat will be used for warm air space heating.
Accommodation:
From our interpretation of the brief and the answers to questions the following accommodation has been provided:
Gallery space (ground, 1st and 2nd floor)
Picture gallery (1st floor)100 m2
Arts and crafts Gallery200 m2
Temporary gallery300 m2
display (ground and 1st) 30 m2
display existing building (gf)35 m2
Education (ground floor)
Education suite69 m2
Education store50 m2
Museum take-away collection45 m2
Education toilets
Open archive/study (1st floor)150 m2
Storage
Basement240 m2
1st floor160 m2
Temporary exhibition store (gf)40 m2
Offices/workshops
Workshop/office (ground floor)50 m2
Conservation workshop(1st floor) 30 m2
Additional offices (3rd floor)2 x 25 m2
Reception (ground floor)
Café (ground floor no 51)70 m2
Shop (ground floor)46 m2
Toilets (ground floor)
Meeting room (3rd or 4th floor)60 m2
Corporate hospitality (3rd or 4th floor)60 m2