View allAll Photos Tagged visually
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
Next up on the Vancouver list, Figma 237 - Ghost in the Shell: Stand Alone Complex Kusanagi Mokoto.
Here's another interesting one. it's a Figma that I've known about for years now, but never really found one for a price that was reasonable. Finally found a second hand one for $45 CAD while in Vancouver - not my ultimate best price, but a fair price. It was complete and in good shape, so why not? To date, there are two Figma of the character - the Stand Alone Complex version based on her appearance in the series, and a release of her in an Optical Camoflague suit that is based on her appearance in a movie that I guess I never saw. As the title suggests, this figure is based on the former.
Read enough manga or watch enough anime, especially Sci-Fi stuff, eventually you'll run into the Major, Mokoto Kusanagi. She is the lead protagonist of the Ghost in the Shell series, and is a fully body prosthesis cyborg, with the only organic elements being her brain and spinal cord. She is the field commander of Section 9, and effectively is written as a character that can do it all with a fierce sense of determination. She reminds me very much of another femme favourite of mine, Black Widow, though I suspect the Major would probably rip her to shreds. I have not read the original Manga, but I did see the John Woo anime movie back in the day, in theatres even, bits and pieces of the series, and yes, including the visually impressive but otherwise kind of boring live action version with the Widow herself, Scarlett Johansson. Mokoto is probably the most famous of the many detailed mecha based creations by Masamune Shirow.
Released in 2017/18, this figure represents the standard Figma figure in terms of pricing, clocking in a 5,370 Yen, and contents. There's the figure itself, three total face plates (neutral/determined, smiling, shouting), both still and windswept bang pieces, two chest parts, her traditional weapons of Seburo M-5 and Seburo C-26A, the latter with a removable barrel, a variety of hands and of course, your standard Figma stand. Again, not particularly rich in accessories, but the basics are there. Her jacket is made of a more pliable rubber as compared to the rest of her body to allow for "better" range of motion on her arms.
One interesting thing to point out at this time is that I remember this wardrobe on Mokoto, but I don't really recall the more skimpy version that she's worn for her other SAC merchandise, such as the Yamato VMF figure I have of hers. After a bit of research, it appears that the more skimpy stuff is based on Shirow's original artwork, whereas this more conservatively dressed version is straight out of the series itself. Changes like that do happen, so no real gasp of shock or astonishment from me.
The overall figure, at least from the front and kind of from the side, looks pretty accurate. You're gonna lose some accuracy due to the use of the standard Figma 2.0 as your basis for window dressing, but lets get it out of the way - most Figma don't look that great from the back, and Mokoto is certainly no exception. Her back view looks functional at best, but I guess it does the job. Her front view is helped by the general curves of the Figma body, as well as the two interchangable chest parts, one of which is full size, as it were, with the other slightly compressed to allow for more natural two armed weapon holding poses. Or so they say.. it wasn't particularly natural looking in my opinion, but to be fair I didn't try without the compressed chest part either. Head/face is a tad small, but again nothing new to the world of Figma, and as mentioned above, there's that rubbery jacket that allows for better movement. Unlike the VMF release, this jacket stays on the figure and has segmented sleeves instead. Detailing on both still and windswept hair is good considering the scale, with the windswept hair definitely being the one of choice for me, and quite honestly, Mokoto deserves to constantly be in action mode.
From an articulation perspective, Mokoto actually fares better than your typical Figma 2.0 figure. She's got the basics, of course - toes, ankles, knees, hips, waist, mid torso, shoulders with chest collapse, elbows with rotation, wrists, and neck. She also has, unlike most of the other 2.0s that I have, neck articulation as well, though you really need to force it to get the neck to pose as the rubber collar of the jacket gets in the way. The Figma body, as always, gets the job done, but after comparing it to the one on my Endgame Black Widow, who has a very similar shape and outfit style, you can kind of get a better appreciation for the work that Tamashi Nations put in to squeeze out better range of motion and overall better articulation with an equally jointed look (or in some cases, fewer joints exposed). Mind you, Figuarts tend to be pricier, so there is that. It's a shame that these days, it's unlikely that you will get a property with both Figma and Figuarts licensing because that would make for an interesting article.
Beautiful work from a paint perspective, though mind you, not as complex as say, Angela Balzac. Her body is pretty much that lavender/grey, with charcoal grey for her jacket. Overall, the short story is like every other Figma product you pick up, paint finish is smooth, unless there are some really intricate detailed parts, of which there are effectively none on Mokoto. Paint textures are smooth, and this includes the paint work on her exposed flesh tone parts. Her paints and jacket are a more glossy finish, most likely to replicate the look of leather. Decal work is solid, of course - no crossed eyes for this figure. Build quality on the figure is again that consistent Figma solid, with strong joints that hold up to typical forces applied while changing joints. As there is some heavy paint apps on pretty much all the body parts, assembly gaps aren't exactly evident even if there were there, but that's never really been a significant with Figma. I do have a bit of a QC grumble, as I think the tolerances on the rear of her hair might be a bit on the large side, causing the front piece to fall out rather easily. Better than the head not fitting on, I suppose.. stupid Megumin. Weapons fit in her hand perfectly, though as always, figuring out the grip on the C-26A is somewhat of a challenge.
So, other than wishing Mokoto had better articulation, she's everything I dreamed of. Simple clothing showcasing her curves, trademark weaponry - it's not exactly heavy weapons toting, wetwork wearing, pissed off Mokoto, but it's not meant to be.
I wonder if I'll find the movie version one day.
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
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.
Schoolhouse Quilters' Guild of Cumberland Maryland
Name of Panel" Reaching for the Stars"
Dream Theme: Science
Did you enjoy this project? "We all enjoyed this project. We had Dan Oates, coordinator of SCIVIS (Space Camp for Interested Visually Impaired Students) to speak to the group.
What could the next IFC project be? "How about a "garden" theme where everyone would send in fabric/fiber representations of plants - they could be arranged in a 'botanical fiber garden'! You could assign each participant a plant to represent - each plant could have a little tag telling about it and giving it's name."
Techniques & Materials Used: Machine Applique and Machine Quilting
Whats the story behind your panel? "When we were thinking about participating in the Dream Rocket project, one of our members told us that the students from the School for the Blind in Rommey, WV (a town in our reagon) had been participating in SCIVIS (Space Camp for Interested Visually Impaired Students) for the twenty years it's been in existance. SCIVIS began when a blind adult was turned away from Space Camp in Huntsville because of her blindness. Now for one week each year, Space Camp is transformed into a place where blind and visually impaired kids can come together and participate in a mock space mission. They come from all over the world and all over the US. They form life long friendships as they interact toward the common goal of the mission with other children who have similiar challenges in their lives. Our panel celebrates SCIVIS and it's positive effect on blind and visually impaired students."
-------------------------------------------
★What IS THE INTERNATIONAL FIBER COLLABORATIVE?
As the leading voice for collaborative public art projects around the world, the International Fiber Collaborative is dedicated to promoting understanding and appreciation of contemporary art & craft through educational experiences. We are committed to developing vital education programs that elevate, expand, modernize and enhance the image of collaboration and education today.
★WHAT IS THE DREAM ROCKET PROJECT?
The Dream Rocket Team is collecting nearly 8,000 artworks from participants around the globe. The artwork will be assembled together to create a massive cover in which will wrap a 37 story Saturn V Moon Rocket at the U.S. Space & Rocket Center in Huntsville, Alabama. We will also be displaying submitted artwork in dozens of national venues prior to the wrapping of the Saturn V. Additionally, we are posting images of submitted artwork & their stories on our Website, Flickr, and Facebook.The Dream Rocket project uses the Saturn V Moon Rocket as a symbolism of universal values of the human spirit. Optimism, hope,
caring for our natural resources, scientific exploration, and harnessing technological advancements for a better quality of life while safeguarding our communities, are all common desires across national and international boundaries. Participants are able to express and learn about these values through this creative collaboration. With the completion of each artwork, participants are asked to write an essay explaining their artwork, and the dream theme in which they chose.
★How can I Participate & Have my Artwork Displayed?
The Dream Rocket project would like to challenge you to ‘Dare to Dream’. To dream about your future and the future of our world through dream themes such as health, community, conservation, science, technology, space, peace, and so on. We would like you to use your selected Dream Theme to express, explore, and create your vision on your section of the wrap. We hope that you are able to express and learn through this creative collaboration. With the completion of each artwork, you are asked to write a brief essay explaining your artwork, and the dream theme in which you chose.
“The Saturn V is the ideal icon to represent a big dream. This rocket was designed and built as a collaboration of nearly half-a-million people and allowed our human species to venture beyond our world and stand on ANOTHER - SURELY one of the biggest dreams of all time. ENABLING THE DREAMS of young people to touch this mighty rocket sends a powerful message in conjunction with creating an educational curriculum to engage students to embrace the power of learning through many important subjects”
-Neil deGrasse Tyson, Director of the Hayden Planetarium, New York
★I VALUE THE ARTS!!!!
The International Fiber Collaborative is able to share the power of a collaboration and art, thanks to the support of generous individual donors. We welcome any amount of donations and remember the International Fiber Collaborative is exempt under Section 501(c)(3) of the Internal Revenue Code, making this gift tax deductible.
Donate Today at: www.thedreamrocket.com/support-the-dream-rocket
See our Online Flickr Photo Album at: www.flickr.com/photos/thedreamrocket/
★★★SIGN UP AT WWW.THEDREAMROCKET.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.
State government of Andhra Pradesh does not have any special privilege to students who are visually challenged. Although they do have text books in braille when it comes to taking public common test they are at par with normal kids (no braille). Although they are exempt from certain exercises like diagrams and map pointing they have to answer all other question like anyone else.
The school takes the help of volunteers ( scribe) for the students to appear for the exam.
Story 1/5 Scribing in progress. www.flickr.com/groups/hpc/discuss/72157615184431603/
A visually striking plate, and Duffy’s third dish which paired a 118°poached-then-chilled-then-carmelized only on one side sea scallop with variations of tapioca (puffed and dusted with hibiscus salt, hibiscus-soaked tapioca chip and licorice-y Sambuca soaked tapioca balls), hibiscus (salt and beet-red hibiscus syrup) with toasted goats milk puree and licorice-flavoured elements (shaved fennel bulb, stalk, fronds and hoja santa leaves). Duffy explained that his use of the chewy tapioca balls (the type found in bubble tea) was not just for texture, but utilizing the unique component as a carrier of licorice-y Sambuca in a chilled scallop plate.
Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.
The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.
On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.
The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.
Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.
To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.
The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.
To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.
The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.
In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.
Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.
WIPO Director General Francis Gurry (center) congratulates Turkey's Permanent Representative to the United Nations in Geneva Selim Kulneralp (right), who presided over a key negotiating committee at the WIPO Diplomatic Conference in Marrakesh, on adoption by the committee of the substantive provisions of the treaty. This paves the way for adoption of the treaty on access to published works by the blind, visually impaired and print disabled in plenary session on June 27, 2013 and signing on June 28, 2013.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Primary School: Sahdulahpur Chandni Panchayat- Karanpura, Block- Hajipur, Bihat, India:
6 years old Annu ( Visually impaired) studies in her first standard class in government primary school Sahdulapur Chandini, May 16, 2013. As part of the School Sanitation and Hygiene Education (SSHE) programme being implemented in partnership with Department of Education, Government of Bihar, UNICEF Bihar is supporting the construction of inclusive, child-friendly water and sanitation facilities in schools, with a focus on addressing needs of ‘differently abled children’. UNICEF India/2013/Prashanth Vishwanathan.
.
Bangkok's most unmissable attraction is of course the Grand Palace, and most specifically the temple complex of Wat Phra Kaew (Temple of the Emerald Buddha), famed for it's riot of coloured and gilded ornament, paintings and sculptures; quite simply, so visually stunning there is nothing quite like it anywhere else!
The Palace and Temple complex were begun in 1782, the year the capital was moved to Bangkok, and parts of the palace buildings betray 18th century European influence combined with traditional Thai style, such as the breathtaking gilt spires on the roof. Most of the interiors of the Palace itself are off limits to visitors since, although no longer the main residence of the thai monarchy, it is frequently used for state functions and ceremonies.
The Wat Phra Kaew complex however is the greatest draw, famed for it's stunning architecture and the famous 'Yaksha' guardian figures that flank all the main entrances to the complex. These towering figures, with their rich colours and tapering crowns, represent demonic characters from the mythological epic the 'Ramakien', and are identifiable as distinct individuals, all here serving a benign, protective role.
The Ramakien is also the subject for a stunning sequence of wall paintings within the cloister that encirlces the entire site, illustrating in minute detail the battles of the heroic monkey warriors, led by the monkey god Hanuman, against the demonic armies and kingdoms of Tosakan.
The Temple of the Emerald Buddha itself forms the largest structure and contains the venerated (though small) Buddha image. The complex contains several other iconic buildings clad in sumptuous decor, most notably the library or 'mondop' with it's gilt spire along with the great golden stupa.
The temple complex is technically a royal chapel rather than a working monastery like most Thai temples as it has no resident monks (the sheer volume of visitors leaves little room for anyone else anyway!).
Trying to be visually realistic when adding a marble to a setting, but it's hard to find a place to seat the marble.
Also tricky - having the color value of the marble relate to the rest of the setting. Here, it just does not.
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.
Visually impaired athlete and her guide. The guide from these olympics onwards will also receive a medal, a guide must not pass the finish line before the athlete. Womens T12 200 metre final. Runner: EL HANNOUNI Assia of France, her guide is SIMOUNET Gautier. The time 24.46 seconds a new WORLD RECORD!
The Olympic Stadium in Olympic Park in Stratford, London, England was the centrepiece of the 2012 London Olympics, the last stop in the 2012 Olympics torch relay, and the venue of the athletic events as well as the opening and closing ceremonies. It was the central venue of the 2012 London Paralympics.
It is located at Marshgate Lane in London's Stratford district in the Lower Lea Valley. The stadium has a capacity of 80,000, making it the third-largest stadium in England behind Wembley Stadium and Twickenham Stadium.
The stadium's track and field arena is excavated out of the soft clay found on the site, around which is permanent seating for 25,000, built using concrete "rakers". The natural slope of the land is incorporated into the design, with warm-up and changing areas dug into a semi-basement position at the lower end. Spectators enter the stadium via a podium level, which is level with the top of the permanent seating bowl. A demountable lightweight steel and concrete upper tier is built up from this "bowl" to accommodate a further 55,000 spectators.
The stadium is made up of different tiers; during the games the stadium was able to hold 80,000 spectators. The base tier, which will be permanent and allow for 25,000 seats, is a sunken elliptical bowl that is made up of low-carbon-dioxide concrete; this contains 40 percent less embodied carbon than conventional concrete. The foundation of the base level is 5,000 piles reaching up to 20 metres deep. From there, there is a mixture of driven cast in situ piles, continuous flight auger piles, and vibro concrete columns. The second tier, which holds 55,000 seats, is 315 metres long, 256 metres wide, and 60 metres high. The stadium is built using nearly four times less steel, approximately 10,700 tons, in the structure than that of the Olympic Stadium in Beijing for the 2008 Olympics. In addition to the minimal use of steel, which makes it 75 percent lighter, the stadium also uses high-yield large diameter pipes which were surplus on completion of North Sea Gas pipeline projects, recycled granite, and many of the building products were transported using trains and barges rather than by lorry.
A group of five performers from Brazil, Tribo de Jah - a reggae band formed at the Maranhão School for the blind - performed on June 18, 2013 at the end of the first day of the WIPO Diplomatic Conference in Marrakesh, Morocco, held from June 17 to 28, 2013. The diplomatic conference aims to conclude a new international treaty to improve access to books for blind, visually impaired, and other print disabled people by establishing an enabling legal framework to facilitate the production of accessible formats and their exchange across borders.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
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.
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.
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.
Chavín de Huántar is one of the earliest and best known pre-Columbian sites. It was constructed between 900 and 200 BCE which coincides with the time frame in which the Chavín culture flourished; it is the oldest of the major cultures in the Andes. The visually most prominent structure is the Templo Nuevo (New Temple), also referred to as El Castillo, which was constructed around 500 BCE.
The Chavín de Huántar site displays advanced construction techniques and innovative artistic expression. It is characterized by coated quarried stone buildings and artificial terraces around plazas. The buildings contain an internal gallery system with an intricate network of vents and drains unprecedented in South America. The buildings and plazas were decorated with lush anthropomorphic and zoomorphic iconography.
Chavín de Huántar was the political and spiritual center of the Chavín culture. It is located in a high valley of the Peruvian Andes east of the Cordillera Blanca near the headwaters of the Marañón River at an altitude of 3180 meters (10,430 ft). It was a major ceremonial center for the Andean religious world whose area of influence included most of today's Peru.
This image was featured in this story:
www.artandobject.com/news/pre-columbian-latin-america-cha...
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.
from april 3rd 2017:
the highest park & the monet movement, scott richard
fantasies of the outdoors play an important part in the history of art.
landscape art and paintings with or of people are generally the big top sellers in a historical sense.
the world of cold architecture has changed all of this immeasurably over the past six decades, though, pushing us toward the abstract and the monolithic.
also, the impact of film has smashed to bits the old paradigms about sound and vision. storytelling has blown into full motion with flashbacks and revisionistic imaginings.
but there are several things we can learn from the art of light in the post-camera golden age of france in the 1860s.
the first thing is that motion is best achieved visually as sideways motion. the truth of vertical motion is rare. at least 98% of all movement happens laterally in a world that we understand based on ideas like gravity and circular earth, etc.
let the light splash sideways!
that is its nature visually. it may fall down, but it is broken sideways by all matter
and another thing that the camera had taught those that had come into contact with its magical power in the those mid 1850s was this notion that there was no true black in reality.
you could dodge something out of existence with white or try to burn something into blackness, but dodging just works better. so those studying the effects began to realize that GRAY was much more present in reality the way a camera saw things than BLACK had ever been.
and in translation, that means that the traditional use of SHADES -- colors formed using black and a prima color to mix shadows -- could be infiltrated by the same concept but switching BLACK out for a type of GRAY.
and gray can be warm or cool when you add colors. and heat and the idea of temperature give light FEELING which lends our eyes the illusion of an IMPRESSION.
and so impressionism is a world of painting filled with colors and sunlight with shadows made from bright orange grays or cool shimmering blue grays, but very little black.
instead, that artist goes chasing off after WHAT THE CAMERA CAN SEE and the secrets about light and perspective that it was in turn teaching the "modern" world of france and the surrounds.
contemporary people tend to underthink the importance of the camera and its affect on all art from the 1820s and on.
interestingly, impressionism is also tourist art of a sorts.
the subject matter of most impressionism idealizes the outdoor sunlight and creates reveries and fantasies for one to ponder.
when monet honeymooned with his wife, they stayed purposefully at a lookeysee resort hotel for three months to soak up the promenade lifestyle, to see the fancy style of the fashionable set, to copy from life the tastes of the day.
and monet's work is very nice for dispaly. the museum shop is literally filled with (and i quote) thousands and thousands of retail dollars worth of coffee mugs and plates and scarves and calendars and books and postcards and cards and magnets and shirts and keyrings and pencils and pretty much ANYTHING they can put his stuff onto. there is an entire room of knockoff repro work from this guy.
i sometimes imagine how much money per year changes hands for monet reproductions.
it must be thousands and thousands and thousands of dollars worldwide every day. it's like its own religion in a way.
and i got to admit, the guy knew what he was doing and kept nailing it.
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.
Day 2. Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
One of the more.. visually interesting (and meme filled) anime series that I can think of is none other than Jojo's Bizarre Adventures, which if I'm being completely honest I still don't actually know anything relevant about. I was first introduced to the series when the fighting game came out in the arcade and on the original Playstation. From what I can gather, the series revolves around the fight between the generations of the Joestar family who battle against their immortal supernatural foe, Dio Brando and his forces of darkness using various weapons, Stand abilities (symbiotically bonded magical beings) and of course, EPIC POSING. In fact, the only thing I'm 100 percent certain about in this blurb I just wrote is that there is EPIC POSING.
Well, just after my return to Ontario, I was able to purchase one of these for $20 CAD - presenting the Medicos Super Action Statue JoJo's Bizzare Adventures: Battle Tendency Joseph Joestar figure. Purchased for the purposes of epic posing.
The Jojo series is set in multiple time periods, with the prequel (Battle Tendancy) featuring a Joseph Joestar, the second Jojo and grandfather to the current Jojo (Jotaro), in his prime. Not that I would have minded a middle aged version with a beard and Hermit Purple effects, but this is what I happened upon. What's more interesting is that this my first Medicos product, who make the Super Action Statue series of figures. Unshockingly, the only time I've ever heard their name come up is when Jojo figures are being sold.. but what IS shocking is that apparently they make more than just Jojo figures. Joseph has a MSRP of 6,800 yen, and was popular enough to warrant three releases (2013, 2015, and 2019), along with a repaint with a different head in 2015.
The set comes with the figure, two headsculpts (neutral expression, angry expression with headband), crossbow with drawstring pulled/unpulled effects, a loose bolo, sledgehammer, a variety of posing/weapon holding hands, and a dynamic stand.
The Medicos body (or at least Joseph) seems to be more in line with a true 1/12 scale as compared to Figuarts.... or Joseph is like 7 ft. tall. Either or, I'm OK with it. I'm not sure if there is a base Medicos body, but if there is a one, the Jojo line doed a pretty damn good job at hiding it. Of course, the character designs in the series are so outlandish that there should be no surprise that finding common parts is difficult, though what is easy to see is that the characters all share the same workout regime. Sculptors definitely captured the distinct look of Joseph, down to the eyes and lips that are very much the signature look of the designs. Fabric detailing is pretty much all I could ask for, and the detailing on the muscles is great only to be surpassed by the excellent work done on the hair. Not a dull spot on either sculpt hair wise no matter where you look on that manly mullet of his.
Of course, articulation is the name of the game, and Joseph isn't a slouch either. He features toe, full ankle, double jointed knees, thigh swivel, hips, waist, mid torso, shoulder pivot and rotate with independent joint for shoulder collapse/chest expand, bicep swivel, double jointed elbows, wrist, neck, and head. After some fiddling around with the figure, the only real thing on my wish list was that the hips would allow for further range of motion in the hips, particularly movement of knee towards the body. Neck/head articulation is limited due to the luscious head of hair Joseph has. Otherwise, between the various hands he's got and the ability to move, well, Joseph has all your Voguing needs covered.
Paint is kind of where things fall somewhat apart here.. sort of. For the most part the paint is pretty good. Quality is solid throughout most of the base body, with in my opinion missing paint on the blue part where the knee connecs to the lower leg. Flesh tones are a bit muddy when it comes to texture, most likey the result of a high number of coats needed. Work on the face and hair is surprisingly sharp given the small size, especially the highlights of the eyes. The finer details, however, go a bit into poor quality, most evident with the masking and paint of the fingers and the smaller accents such as the gold on the knuckles, belt buckles, and so on. Bad as it is, however, it thankfully never reaches early 2000s Playarts level of bad, as you can still make out the well detailed fingers and other fine areas, whereas Play Arts would have just dumped a blob of paint on and hoped for the best. Decal work is also pretty good overall, with no real complaints from me.
The overall build is quite good. No issues with warped parts, misaligned joints or limb length, joint strength. Maybe it's just my eyes, but to me it seems like Joseph is made from the same stuff they make NECA, McFarlane, and other North American figures from, just with much, much better QC. I mention this because the plastic seems softer compared to the stuff on my Figuarts, and would be unable to support the finer details use as the meshwork on Endgame Widow's suit. I suspect that material choices might play into the overall price point as well, because sad as it is 6,900 yen is relatively cheap for something like this. Furthermore, while the crossbow and sledgehammer and functional and generally good to look at, upon closer inspection you'll notice some warping and general softness of details.
So overall, a pretty good figure that isn't as crisp looking as Figma or Figuarts, but is able to hold its own due to the very good articulation. The Jojo universe is filled with all sorts of very visually striking characters, and despite my general unfamiliarity of with the property, even I have my favourites. It'll be interesting to see if I run into any of these in the future at a price point that makes me warm and fuzzy, because I really don't see them available for sale that often.
But you can bet if it's on my way somewhere, I'll be there to buy it.
Illustration: Teresa Robertson (www.teresa-robertson.co.uk). Acknowledgement: Royal National Institute for the Blind UK for permission to adapt original illustration.
Published in:
Community Eye Health Journal Vol. 26 No. 81 2013 www.cehjournal.org
Community Eye Health Journal Vol. 16 No. 45 2003 www.cehjournal.org
Interaction of a special kind. The guy is focus is Rajashekar he is visually impaired. Yet in a week he will be appearing for his high school diploma test conducted by the Ap State Government. He cannot take this test in Braille. The volunteer next to him is reading his questions from the test paper from him. Rajashekar has to be very attentive. He needs to understand the question, formulate the answer and reply it back to his scribe so that the volunteer can write it down for him.
Today he is taking the Math paper.
Story 2/5 www.flickr.com/groups/hpc/discuss/72157615184431603/
Prominent footballers, coaches, international experts and representatives from sport organisations and clubs came together for the launch of ‘A Ball for All’ – a project to promote access to the practice of football for blind and visually impaired people.
The launch event, which was organised by Save the Dream, took place at Aspire Zone on the occasion of National Sport Day.
Run in collaboration with the Qatar Financial Centre (QFC), Sasol, under its Definitely Able initiative, Qatar Social & Cultural Centre for the Blind (QSCCB) and Aspire Zone Foundation (AZF), the event featured French ambassador to Qatar Eric Chevallier, Qatar Sports Club and former Inter Milan player Luis Jimenez and legendary international coach Bora Milutinovic.
A group of visually impaired people assist each other as they use their canes as they cross the road, October 11th, 2007, amidst heavey traffic in down-town Nairobi, Kenya. Most of the road-users in the City are either too busy or careless to respect the Zebra-crossing and other road-signs without giving attention to people with special needs who use the roads as well. PHOTO/STEPHEN MUDIARI
Senegalese performer Pape Niang performed on June 18, 2013 at the end of the first day of the WIPO Diplomatic Conference in Marrakesh, Morocco, held from June 17 to 28, 2013. The diplomatic conference aims to conclude a new international treaty to improve access to books for blind, visually impaired, and other print disabled people by establishing an enabling legal framework to facilitate the production of accessible formats and their exchange across borders.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Dakkhina Bahadur, 30, is physically and visually impaired, who lives with her husband and two children at Baraikhali in Dacope upazila in Khulna. Cyclone Amphan destroyed her stock of “Chaar”, or catching equipment for crabs made from bamboo. Her business of selling Chaar was steady before the Covid-19 pandemic, but that came to a halt soon after. She received cash support from UN Women as a victim of Cyclone Amphan as well as the Covid-19 pandemic, which she used to purchase raw materials for making new batches of Chaar. This helped her to resume selling the item again. Business has not been brisk compared to the pre-pandemic days six months ago, but at least now she has begun again.
Photo: UN Women/Fahad Kaizer
The original tactile paving was developed by Seiichi Miyake in 1965. The paving was first introduced in a street in Okayama city, Japan, in 1967. Its use gradually spread in Japan and then around the world.
Tactile paving (also called truncated domes, detectable warnings, Tactile Ground Surface Indicators) is a system of textured ground surface indicators found on many footpaths and train station platforms to assist blind and vision impaired pedestrians.
Tactile warnings provide a distinctive surface pattern of "truncated domes" or cones (which are small domes or cones that have had their tops cut off, or truncated) detectable by long cane or underfoot which are used to alert people with vision impairments of their approach to streets and hazardous drop-offs. People who are blind or visually impaired are alerted of impending danger from vehicle impact or a grade change.
The above text is from Wikipedia
But for everything that you wanted to know about tactile paving but were afraid to ask, look at this Australian site
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 visually stunning soft-shell crab was delightfully crispy, while still moist inside. Still, we thought that the Chinese-style salt and chilli soft-shell crab was tastier, possibly because Kura's version lacked MSG! :)
---
Kura Japanese Dining & Take Away
9 reviews - Write a review
3/76 Ultimo Rd
Haymarket New South Wales 2000, Australia
(02) 9212 5661
Reviews:
- Kura, Haymarket - grabyourfork.blogspot.com/ - Monday, October 31, 2005
C/2014 Q2 captured around local Dec-26 2014 midnight at Joshua Tree National Park, CA, USA.
Parameters used labeled in the image already. Image sequence calibrated with bias, dark and flat, and stacked in IRIS automatically with registration on the motion of the comet calculated by GUIDE9.0. Further processed in Fitswork and Photoshop.
The strong wind at the highland desert defeated my intention of accumulating more photon signals from the comet. The gust was so strong that sometime I felt myself could be blown away. The photographing had to be paused after I took 19 frames when the wind simply kept so strong that every of the images were blurred. Therefore the quality of the final image fails to match my expectation. It just serves as a record of how the comet looked at that moment. At least I'm pleased to notice that the disconnection event of the plasma tail has been recorded in this pic.
I visually observed the comet both thru 20*80 and my naked eye. I could easily see the ~2 \degr wispy tail pointing to p.a. 19 \degr in the bino. Visual brightness estimate gives me m1 = 5.1, Dia. = 19' and DC=6. I forgot to wear my eyeglasses, however, I could still see the comet thru my naked eye; it was roughly m1 ~5.0.
There's nothing particularly visually interesting about this hotel in Philadelphia. However, I had a interesting stay here over a bitterly cold Presidents Day weekend in 1996.
A few months earlier I had great stay at a boutique hotel in San Francisco. It was the first time I had stayed at a boutique hotel so I made a reservation at this place, which I think was called the Walnut Street Hotel, because it advertised itself as a "boutique" hotel.
An indifferent college student checked me in at the front desk and I headed to my room. I dropped my luggage off and went out for dinner. When I came back I noticed that it was kind of chilly in the room. At the time I had a little thermometer zipper pull on my suitcase and it was not only kind of chilly it was all of 54 degrees.
I went downstairs to complain to the indifferent college student. He remained indifferent, saying the heat was not working and wouldn't be fixed until the next day.
He did give me an extra blanket though. The extra blanket was the most threadbare blanket I'd ever seen. I put it on my bed, along with all the towels and my parka and, wearing my clothes, I managed to sleep most of the night.
I spent the next day working at the convention center. When I got back to my room that evening it was no longer 54 degrees. Quite the opposite as it was 94 degrees! Opening a window made the room livable and I didn't dare complain for fear that they would turn the heat off.
In addition to the heat and cold problem there was the bathroom, specifically the toilet. The toilet was set off from the shower in this little alcove. The alcove was narrow and wedge-shaped. It was so narrow that my shoulders touched the walls when I sat down and to sit down I literally had to take my pants off beforehand and back into the space. TMI!
To end this story on a good note the hotel television had a Drexel University cable channel that was showing some pretty obscure stuff. One movie was "My New Advisor" by a guy named Jim Bihari, who was an Ohio State University student at the time. It is a feature length movie made for a few thousand dollars about a graduate student and his new advisor going to a conference, mainly by driving back and forth on rural central Ohio roads. It was really funny and had a great soundtrack. I haven't seen it since that stay but I just noticed the whole thing is on YouTube.
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