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Visually describing eigenvectors with associated Legendre polynomials. Made with Shodor's AssocLegendre class - www.shodor.org/refdesk/Resources/Libraries/AssocLegendre/...
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.
Photo: POH
Portraits of Hope's unprecedented Los Angeles coastline public art and civic project involving more than 10,500 kids, adults and volunteers, which visually transformed all 156 Los Angeles County beach lifeguard towers on 31 miles of beach – including Malibu, Will Rogers, Santa Monica, Venice, Marina Del Rey, Playa Del Rey, El Segundo, Manhattan Beach, Hermosa Beach, Redondo Beach, Torrance, Palos Verdes, and San Pedro. www.portraitsofhope.org
Summer of Color -- A Portraits of Hope Project
Portraits of Hope's LA County Public Art and Civic Project – LA County Lifeguard Towers
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
156 Los Angeles County Lifeguard Towers
31 Miles of Beach and Coastline
10,500 Children and Adults
118 Participating Schools, Hospitals, Social Service and Civic Institutions
350,000 Sq. Ft of Paintings
Youth and Program Sessions in Greater LA
Project-based learning: interdisciplinary contemporary issues and civic
education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for
hospitalized children and persons with
disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, visual impairments, and other serious conditions
6-month program and collaborative
phase
5-month Los Angeles County beach public art
exhibition
Close Cooperation with LA County Supervisors Zev Yaroslavsky and Don Knabe and the LA County Department of Beaches and Harbors and LA County Lifeguards
Special thank you to Image Options, Laird Plastics and Recycling, Ford Motor Company
Benjamin Moore Paints, Skinny Cow, Verseidag Seemee US, EFI Vutek, Morley Builders, Vista Paint, The Weingart Foundation, CornerstoneOnDemand, Drumstick, Chris Bonas, Casa Del Mar, Tim Bennett, Andy Boyle, Nazdar Coatings, Adina Beverages, Robert Gore Rifkind
Foundation, Helen and Peter Bing, Loren Philip Photography, Starbucks Volunteer Services,
Subversive Nature Designs, MACtac, The Barnes Family, Hasbro Studios, Wooster Brush, The Bachelor, UCLA, Mark Benjamin, Susan Kohlmann, Tomarco Fastening & Anchoring Solutions, AAA Flag & Banner, Jenner & Block, A.V.I. Construction, The Newberg Family, Debra Ricketts, The Penske Family, The Davidow Charitable Fund. Annie Barnes, UCLA Freshmen and Transfer Students, USC-UNICEF, LMU Students
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Visually, my favourite scene from the 'Impression - Liu Sanjie' show in Yangshuo, Guangxi province (China).
The show is co-directed by Zhang Yimou of the Beijing Oympics opening (and closing) ceremony fame.
The performance utilizes the natural surroundings to create a spectacular outdoor theatre which is the largest of its kind. The Li River itself is the stage and 12 karst mountains serve as the backdrop.
The show includes modern and classical music composed by famous musicians in China. There are also over 600 performers - all locals.
The show gives the viewer impressions of the life of people living around the river. It also provides an insight into the dress and music of the ethnic minorities of the area.
The Martin Castle, also known as Castle Post and Versailles Castle, is a castle in Kentucky, located Versailles, Kentucky, near Lexington, Kentucky, 201 Pisgah Pike near the Woodford County line, part of a 50 acres estate.It is visually situated off Lexington (Versailles) road.The Castle Post overlooks the Elkhorn Creek watershed on the Woodford/Fayette county line. Construction began in 1969 by its original owners, and has since changed hands undergoing a major renovation in 2004. As of 2010 it is for sale again. Today it operates as a bed and breakfast and special functions facility
Construction on the castle was started by Rex Martin and his wife Caroline Bogaert Martin in 1969, after they had returned from a trip to Germany and were inspired by the architecture and many famous buildings they had seen in Europe. The finished project was to have seven bedrooms, fifteen bathrooms, a fountain in the driveway, and a tennis court. In 1975, the Martins divorced and left the castle unfinished. Over the years, it became a popular oddity and roadside photo-op for tourists. In 1988 Rex Martin put it on the market, but died before it was sold. In 2003 the so-called "Martin Castle" was sold for 1.8 million dollars to Thomas R. Post, a wealthy lawyer of property tax (University of Kentucky) from Miami, and the name was changed to "The Castle Post". It had been for sale for many years at a price rumored to be more than 3 million dollars, and there had been talks that it would be turned into a medieval-themed restaurant or a museum.
On May 10, 2004, after months of renovations, tragedy struck when newly installed woodwork and wiring caught fire in the main building. Thomas R. Post, the castle's new owner, who was at his home in Miami at the time, had already spent months renovating it but vowed to rebuild. Approximately twice the castle's original cost went towards the reconstruction project. Post, an attorney from Miami, graduated from the University of Kentucky and uses the castle as an inn, charity fund raisers and other special events. His wife, M. Judith Donovan Post M.D., graduated from the University of Kentucky College of Medicine, and is a prominent Neuroradiologist at Jackson Memorial Hospital and Leonard M. Miller School of Medicine. They have two children, Kathryn and Christopher, both recent graduates of Cornell University.
Reconstruction was completed in fall 2008. New additions includes twelve luxury suites, a library, game room, music room, dining hall, ball room, swimming pool, formal garden, basketball court, bar, and tennis court. It is used as a tourist inn, fund raisers, weddings, special events, and corporate functions. It has sixteen bedrooms, four of which are in the outside turrets.
In November, 2010 the property was listed for sale at $30,000,000. Post said he would continue to operate it as an inn while it is listed.
Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
Photo Title: Visually Impaired kid wearing binocular telescope
Submitted by: Ansa Benazir
Category: Amateur
Country: Pakistan
Organisation: Khyber teaching Hospital
Photo Caption: a cute kid of 6 years wearing pink frock is putting on binocular telescopes.
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Photo uploaded from the #HopeInSight Photo Competition on photocomp.iapb.org held for World Sight Day 2020
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.
Last week at RNIB in London we learned first hand which tools and tricks visually impaired musicians use to read sheet music. Very inspirational.
Not the most visually appealing full English, and not the best quality either to be honest, but it hit the spot and wasn't really bad in any way. Toast is lurking just out of shot, plus it came with a coffee for a reasonable price. At Mortimer's Cafe, Mortimer Street.
I was a bit frustrated with the Perseid meteor shower this year - didnt really catch anything worthwhile and although there were a few bright meteors visually, none were in my field of view at the time.
Ive thought about an All Sky camera for a while - would give me options for monitoring more meteor showers (such as the Taurids), checking for clouds when indoors during an imaging session and even doing a time lapse video of my telescope tracking across the night sky.
Noticed a price reduction on First Light Optics website so have gone ahead.
North is up here - you can see an inverted Plough just over my rooftop. Polaris is there along with the Summer triangle, Cassiopeia is above the tall tree and a faint Milky Way which reflects my suburban edge, Bortle 5, Yellow, SQM = 20.2 location.
Streetlights and glow from Limavady town to the West
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
Title : North Christian Church
Creator : Saarinen, Eero
Creator role : Architect
Creator 2 : Kiley, Dan
Creator 2 role : Landscape architect
Date : 1964
Current location : Columbus, Indiana, United States
Description of work : "North Christian Church is a one-story building with a lower level nested into a moat within a surrounding earthen berm. The plan was hexagonal, a symbol of the Star of David. The building then rose to a 192-foot spire that supported a cross, symbolizing the emergence of Christianity out of Judaism. Several elements of the design were innovative in church design. The sanctuary was placed in the middle of the building and elevated, symbolizing its importance as the center of the church. Seating was around the hexagonal plan to allow members to relate visually to each other during services. This type of seating arrangement was unusual for a church at the time, but has been employed in many churches since. Saarinen also used lighting to affect the character of the building. For example, the main source of light in the sanctuary was indirect, giving the space a spiritual quality. The landscape of the North Christian Church represents the fusion of Modern architecture and landscape architecture. The church structure hovers over its suburban setting; its tapered hexagonal roof blends with the low berm which surrounds it. The crisply delineated geometric forms of the church enclose a sanctuary in the round focused on a central altar. Light enters from above. Classrooms and offices look outward to the outer landscape sanctuary: the bosque, lawn, and maple alee. Views of the surrounding town are screened by enclosing trees. The spatial organization of the site is an extension of the ordered geometry of the structure; additionally, the landscape design for the church extends a liturgical sequence of spaces into the site which is then included in the celebration of entry into the church. The neutral grays and blacks of the modernist structure are complemented by neutral greens of plantings. Color is changed in the interior space through seasonal programming of altar seat cushions, flowers, and banners. Similarly, the seasonal colors of the landscape are programmed into the landscape design, whites of spring magnolias, reds of fall foliage of the maples, and grays of winter branching." (Source: National Historic Building Nomination Form for North Christian Church, www.nps.gov/history/nhl/designations/samples/in/nchrist.pdf, Accessed June 10, 2009)
Description of view : Detail view of the baptismal pool with stainless steel cover.
Work type : Architecture and Landscape
Style of work : Modern
Culture : American
Materials/Techniques : Metal
Stone
Source : Pisciotta, Henry
Date photographed : April 2009
Resource type : Image
File format : JPEG
Image size : 2304H X 3072W pixels
Permitted uses : This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection : Worldwide Building and Landscape Pictures
Filename : WB2009-0162 ColumbusIndiana.JPG
Record ID : WB2009-0162
Sub collection : religious buildings: churches
Copyright holder : Copyright Henry Pisciotta
Only four strips on this one, I don't want a particularly strong outer stem visually. Blocks under the plastic sheet have been fixed at key points along an outline of the stem- traced way back when the stem was just finished. The tracing was onto a piece of 9mm ply off-cut. The blocks are all just scraps.
Visually one of my favorite looking guitars in my collection...it just SCREAMS "1980s heavy metal hair bands"...the Warlock shape...the snakeskin...the pink color...the matching headstock...this one had me at "hello"...and it plays beautifully.
The lower register of the north aisle west window depicts the Judgement of Solomon. The upper register mainly contains supplementary details.
The west windows of the aisles were heavily damaged by the great storm of 1797 and until the recent restoration had many missing sections and areas composed of patched fragments. The restorers of the Barley Studios bravely reinstated the missing sections using as much original material and evidence as possible (a thorough examination of the fragments when disassembled yielded much information). The result has transformed the effect of these windows, visually completing the cycle of windows again for the first time since the storm damage of 1797.
St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.
The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.
One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.
Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.
The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.
The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.
It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.
Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.
Chan Lap Hin (Leslie) visually narrates another side of the ego, that of a supposed loser, a delivery person for a local Cha Chaan Teng (茶餐廳), someone with a low level of education who nevertheless takes a kind of clever revenge on his customers and his employer.
Ego Systems / 身份實例
Featuring the work of:
劉英傑 Lau Ying Kit (Rijk), 林安琪 Lam On Kit (Kristin), 陳立憲 Chan Lap Hin (Leslie), 余展宏 Yu Chin Wang (SteveCow), 陳卓嘉 Chan Cheuk Kar (Carmen), Siu Tsz Kuen (Patrick), 陳綺婷 Chan Yee Ting (Jill), Fan Chun Kit (Roy), 潘柬芝 Poon Kan Chi (Kit), 吳綺玲 Ng Yee Ling (Elaine), 梁家寶 Leung Ka Po (Dez)
Curated by:
Tse Ming Chong, Andrew Guthrie
These artworks are the result and apex of 3 different semester’s final assignments to Poly U students attending Andrew Guthrie’s Digital Imaging class, part of the SPEED program at The Hong Kong Art School.
The final assignment of these classes required students to create an alternate, or “fake” identity, using themselves as the subject or model. This identity was presented in the form of an Artist Book, a much-disputed genre, as no one is quite sure what that name fully indicates.
Nevertheless, this identity was presented as a sequence of images, something like pages in a book, a series of photographs, or indeed, a movie.
This visually distinctive silver hallmarked badge was designed Eric Gill, one of the most well know British artists of the early 20th century. In January 1937, Gill received the sum of 3 guineas for his design work; it showcases his forte for letterform design with the prominent, statuesque initials, ARP. The letters are nicely balanced with inter-points (dots), and this gives the acronym a strong visual presence. Gill used the King's 'Imperial Crown' to complete the overall regal effect. The first orders for this badge from the Royal Mint had crescent lapel fittings (for men), followed by the later issued brooch fittings (for women).
The badge emerged of course during the period leading up to WW11, as the British government created plans for a number of civilian volunteer services such as air raid wardens, first aid centres, report centres to support and help towns and cities deal with the potential devastating fall out from bombs, poisonous gasses and fires. The overarching name given to these civilian volunteer services was Air Raid Precautions (ARP) and by February 1939, over 800,000 government issued ARP badges, similar to the one above, had been shipped to local authorities.
After volunteers completed a period of training, they received a badge identical to the one shown here. Again, like this example, early issue ARP badges were silver hallmarked, but by 1940 these badges were made of white metal. By 1943, this particular type of government ARP badge ceased being made as most volunteers had, by this time, a uniform.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a
variety of print sizes e.g. A4, A3, A2 and A1. The current uploaded
format is for screen based viewing only: 72pi)
Custom Helmet elegant, sporty and visually striking.
Airbrushed with metallic and sparkle colors on a full silver leaf background.
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.
While visually a peculiarity among the other nobles occupying Oléon's High Council, Noorah Al-Ghareeb de La Roche de Tarzout can trace her noble lineage far back to when Oléon first arrived in Guelph. Sensing an opportunity to gain more influence and strength, Noorah's ancestral tribe was quick to ally with the northern kingdom and was a loyal ally during the ensuing civil war. Over time, the political power of the family grew through clever diplomacy and sometimes devious scheming. The tribe left the inland desert of Guelph and claimed the fortress of La Roche - the Rock - as their new home, from where they ruled Tarzout and Ouaganda first and later all of their dominions in Guelph, Oléon and the New World. They made their uncountable fortunes in agriculture and trade and own vast swathes of land throughout the Empire.
Noorah is a political power player and worked her way up into the highest echelons of Oléonese political life with patience and clever insights. Although some also suggest a more sinister path to power, which includes blackmail and other forms of subterfuge. In either case, as the head of le Bureau de Preuve, Noorah is responsible for the orderly conduct of all interior affairs of Oléon. A task she takes very seriously. A worker bee and somewhat of a control freak, Noorah has considerably expended the shadowy sections of her cabinet and keeps a close eye on possible dangerous elements within the Empire.
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.
The O2 arena, visually typeset in branding as The O2 arena, is a multi-purpose indoor arena located at the centre of The O2, a large entertainment complex on the Greenwich peninsula in South East London, United Kingdom. With a capacity of up to 23,000 depending on the event, it is one of the largest indoor arenas in Europe alongside the MEN Arena in Manchester. In 2008, The O2 arena took the crown of the Worlds Busiest Arena from the MEN Arena, a title which it held since 2001
Michael Jackson, who died from a fatal heart attack in June 2009, was scheduled to play 50 concerts from July 2009 to March 2010, making it the longest residency at the arena. All 50 dates sold out within a few hours of their release, for both the presale and general sale phases.
Source: Wikipedia
On December 9th, with MA Creative Practice for Narrative Environments 2nd year students. The first of three workshops with this group.
What is Good Participation?
These are student examples of when they experienced good participation, describing the qualities made it 'good'.
01
what it was:
an iphone application for manipulating sounds -
why it was good:
surprising, fun, visually pleasing, audibly pleasing, changes over time, feel part of a (virtual) community
02
what it was:
artistic project which rebuilt an allotment in Hackney -
why it was good:
respect for memory, what it did was very clear (people know from understanding of last time it was there), gave back identity to participants, filled a need for the community.
03
what it was:
laser dome game
why it was good:
people instinctively knew what it was, people did things they wouldn't normally do, like: perform, be silly, they shared a common experience and it broke down social barriers.
04
what it was:
the good participation workshop
why it is good:
participants: decided to stay, consciously agree to follow instructions, understand what they are doing, individuals try to improve the quality of the group, try to replicate after
05
what it was:
theatre play in which the actors turned the audience into performers
why it was good:
people became actors in their own play, they were willing to change their role, participants had a strong reaction, good or bad
06
what it was:
an artistic installation with audio headsets. Participants moved around the space and when they hit a virtual wall, the headset beeped to let them know the virtual limitations of the space.
why it was good:
it changes your perception of what you see & feel
07
what it was:
Purple World at Cadbury's. It was an interactive screen with raining chocolate. People didn't always know how it worked. People who saw it first would then teach newcomers.
why it was good:
Participants cooperated and helped each other, participants taught others, makes a fantasy come true
08
what it is:
music concerts (in general)
why they are good:
it's both a personal and collective experience, intense, participants pay attention, you own the moment, it's your own experience of the song.
09
what it was:
community project which let people in a local area got to a web page and log their upcoming travel plans with starting point and end destination. People could then plan ahead to share rides.
why it was good:
it changes participant routine, what participants do has a bigger effect on their environment, participants do something they wouldn't normally do
10
what it was:
Silent Disco on Carnaby Street, with headphones with different channels.
why it was good:
it was free to anyone, sharing an experience with strangers, build on each other's energy.
11
what it was:
Fuerza Bruta performance - In part of the performance, women in very little clothing begin to crawl on the surface of the transparent ceiling. The ceiling descends to a distance very close to participants' heads. Participants feel compelled to touch the ceiling but there is an obvious tension in touching the ceiling while also appearing to touch the semi-nude women. An announcer asks the audience to please respect the women.
why it was good:
it was not really participation but extreme engagement - engaging because of the qualities of the environment, it was so curious, tempting, shocking.
In February 1972, the facelifted LJ Torana was introduced with the six-cylinder models now visually associated with the larger Holden HQ series. Many mechanical components were shared with the LC, with the major changes limited to the choice of engines. The four-cylinder Torana retained its 1200 & 1600 engines but was now also available with a 1300 cc unit. The 2250 and 2850 engines carried over into the revised six-cylinder Torana models, and the 3300 engine (known as the 202 in the HQ range) was adopted as the engine for the LJ Torana GTR sedan. Gearbox choices remained the same across the range.
A race-bred version of the 3300 engine was also fitted to the LJ Torana GTR XU-1, producing well over 200 brake horsepower. By now equipping the XU-1 with the 202ci engine and larger 1.75in CD triple carburettors, as well as a new close ratio M21 4-speed Australian made transmission, this gave the nimble XU-1 the power boost it needed to seriously challenge the powerful Phase Three Ford XY Falcon GT-HO, which had won the 1971 Hardie-Ferodo 500 production car endurance race held annually at Bathurst.
In the somewhat wet 1972 Hardie-Ferodo 500, the lightweight HDT Torana GTR XU-1 was able to finally claim victory against the heavyweight GT-HO, driven solo for 500 miles (800 km) at the hands of Peter Brock. This would be the start of the 'Peter Perfect'/Torana legend, and the first of five Bathurst wins for the Torana in its colourful ten year racing career at Bathurst.
Holden also developed a 308ci V8-powered version of the GTR XU-1, often referred to as the GTR XU-2, but the car never made it past the prototype stage. This was due to the 'Supercar Scare' of 1972, which involved vast political pressure being placed upon Holden, Ford and Chrysler to abandon their proposed specially-built 'Bathurst Supercars', such as the XU-2. This was the result of a media frenzy that was reporting against these soon-to-be released "bullets on wheels" available to the general public. In effect, all three manufacturers bowed to this pressure, and Holden would postpone its introduction of a V8 Torana for two years until the release of the slightly larger LH series Torana in 1974.
A total of 81,813 LJ Toranas were built by Holden in Australia, with some exported to New Zealand, but only in 6-cylinder form, likely due to the similar 4-cylinder Vauxhall Viva HC range being sold there as well. The 2850SL model, with bucket seats and 4-speed floor shift, or Trimatic three-speed automatic was also shipped to New Zealand in CKD kit form for local assembly from 1973, becoming the first Kiwi-built Torana.
This picture is #18 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at www.100Strangers.com;
------------------------------------
Please welcome Claude.
I was in London at one of the main tourist spots, Piccadilly circus, and wasn't really expecting to get a stranger here - most were tourists, and most didn't speak english! Then I spotted Claude obviously waiting for someone. I made the assumption that he wasn't a tourist and was right. I actually spotted his outfit - the pale yellow top and off white trousers just looked so cool (in both meanings) on what was a very hot day. Of course, the fact that he was a very good looking young man had nothing to do with it... I'm old enough to be his Mum, in fact almost, grandmum :-)))
From his initial short response I thought that I detected an accent and asked where he was from, which turned out to be Ghana (another coincidence - taking photos the weekend before I was photo-ing Ghanaians playing football). Then when he got talking I realised that actually he didn't have much of an accent at all and sounded very English, so I hope that he didn't take offence at my immediately asking him where he was from - he had lived here a long time, and that was apparent from his lovely voice (calm down woman...!).
When I asked his his age I didn't think much of it until I sat down afterwards and wrote down his details - he is 18 years old, and this was my 18th photo. COINCIDENCE strikes yet again, and I had just had another freaky coincidence with the ad on a passing bus (but that's another story)!!!.
As for the photo, (note to self - always put setting back to neutral and always check settings before taking photo!!!!). yep, he was a little out of focus because I had just been trying stuff out and hadn't put the settings back again. Luckily, B&W masks that a little. I chose this position because basically, Piccadilly Circus is an ugly, busy place and this was the best way to neutralise it, the B&W taking out the distracting colours behind the wrought iron.. and of course it allows me to show his striking yellow top to best advantage :-)
(see www.flickr.com/photos/47104434@N00/2627745766/ to see what a visually busy place it is )
I'm sorry Claude for messing up the photo, but thanks for allowing me to take (and ruin) your photo.
(5648)
This lovely wine was from the 2 Lads Winery. I had it with a delicious plate of snacks that included crackers, cheese, white fish pate, smoked almonds and a tiny little raspberry chocolate. Yummy!
I also posted this because I realized I had little fall color in my stream and it bummed me out. So there's a little bit of what fall looked like, reflected in the bottom of the glass.
Visually speaking this is not the most mind blowing image every created. It's more of a simplistic take of the story. Nevertheless it doesn't come close to the awesomeness of the special edition cover featuring HAL in close up. At least, it feels better than this weird scifi version of the standard DVD edition (you know, the one showing a flying space ship - which has so important for the overall story. Because, you know, he wouldn't have reached the space station without it.)
213/365
I have internet....finally!! Been without for well over a week and I'm suffering withdrawal symptoms from flickr :s I have still been taking pictures every single day and I will slowly be uploading them.
Work has been hectic as has moving house and so the stress has been plentiful, hopefully I can dedicate a large amount of time to flickr this weekend :)
This was taken on a mini stroll around my new local area, just a flower....anyone know what it is?
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Contact : photos [at] handisport.org
I remember many years ago visually scanning the late night sky and thinking "wow, what is that??". Grabbing a pair of binoculars and later a telescope I again had the same reaction.
It was, of course, M34, a striking cluster that stands out well against the backdrop of the sky for any focal length that can contain it.
Equipment
Imaging Telescopes Or Lenses
Apertura 6" f/5 Imaging Newtonian
Imaging Cameras
QHYCCD QHY163C
Mounts
Vixen GPDX
Filters
Baader Neodymium Moon & Skyglow 2"
Accessories
OnStep Telescope Mount Goto Controller · Sharpstar 2" 0.95× coma corrector (CRC2095)
Software
Adobe Photoshop · Aries Productions Astro Pixel Processor (APP) · Stefan Berg Nighttime Imaging 'N' Astronomy (N.I.N.A. / NINA)
Acquisition details
Frames:
Baader Neodymium Moon & Skyglow 2": 148×120″(4h 56′)
Integration:
4h 56′
Basic astrometry details
Astrometry.net job: 8278073
RA center: 02h42m13s.2
DEC center: +42°45′00″
Pixel scale: 1.083 arcsec/pixel
Orientation: 78.943 degrees
Field radius: 0.867 degrees
Find images in the same area
Resolution: 3438x4622
File size: 16.4 MB
Data source: Backyard
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.
52 Weeks of 2016
Week No: 45
Theme: Chapter 4
Category: Creative
I had a grandiose plan for the four chapters of a story told in four parts visually depicted in pictures. As often with life, there are deviations from the plan. I intended to incorporate a drawing in a final image, but alas, I am a photographer, dammit, not a sketch artist!
Thank you so much for your views, comments and favs. I really do appreciate every one!
My images are posted here for your enjoyment only. All rights are reserved. Please contact me through flickr if you are interested in using one of my images for any reason.
***UPDATE*** 7/2/13 Some things are meant to swim upstream. This is heading exactly that way, where it belongs. Thanks LC.
While visually these are amazing, they're impracticle and the upkeep is a chore:
-The plastic doesn't have breathability and your feet quickly become hot, making them unbearable for all day wear.
-The inside heel has only a thin strip of felt that is easily worn away and needs to be replaced often or the stitching behind can become frayed, splitting the shoe.
-The plastic as well will become cloudy over time and if left in light will also yellow.
-High heat and humidity areas will eventually cause the plastic to become brittle, eventually disintergrating.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
The visually distinctive Tarboush Cafe in Loughborough town centre.
"Tarboush is a traditional yet modern Cafe with a menu inspired by the Middle East. Tarboush brings Loughborough some of the magic from the ancient world & is the ideal place to escape if you want a break from the norm. The menu offers an array of tantalizing tastes & light refreshing bites which will take you on a journey from Syria, Lebanon, Egypt, Morocco to Turkey and Greece (to name just a few) & back. The air is filled with the sweet scent of shisha, it's easy to forget where you are..."
Tarboush is the Arabic name for red hat or fez, which is traditionally worn in the Middle Eastern region as part of the traditional custom... Tommy Cooper being one of the most famous to wear this this hat.
I said to the chef, 'Why have you got your hand in the alphabet soup?' He said, 'I'm groping for words!'
I told the waiter, bring me a chicken. So he brought me a chicken. 'Just a minute,' I said, 'It's only got one leg. 'It's been in a fight.' I said, 'Well, bring me the winner.'
My wife said 'Take me in your arms and whisper something soft and sweet'. I said, 'chocolate fudge'.
Police arrested two kids yesterday, one was drinking battery acid, the other was eating fireworks. They charged one and let the other one off.
You know, somebody actually complimented me on my driving today. They left a little note on the windscreen, it said 'Parking Fine.'
So while the Mystery Figma didn't quite work out, I did get my hands on a few other Figma that made my life worthwhile. While two were traded off for something which I feel was more my speed, this one remained - Panther, from Persona 5 (real name, Takamaki Ann).
As my video gaming in the past 6 years has been abysmal due to having kids, I have yet to actually play Persona 5... though I do keep hearing wondering things about it, just like its predecessor, With the team given the moniker "The Phantom Thieves", you know there was going to be at least one chick dressed in a catsuit, and here she is.
So Panther has the suit going for her (and the whip.. you can't have one without the other), she's also got something else that catches my eye, namely how she has some resemblance to Catharine from the Atlus game of the same name. I loved the character designs from that game, and it was nice to see it sort of revisited.
Released in late 2018 for just under 6,300 Yen, you definitely felt the pinch by the time conversion worked itself out and she retailed, on average, for around $100 CAD before taxes. These days, with the popularity of the crew due to the Strikers game being released, prices for any of the characters is painful. So, you can imagine my excitement for finding her at $30 CAD used, albeit a bit out of the way.
Content wise, you get the figure, two alternate sculpts (winking, focused), her mask, a paper fan, a machine gun, her whip, 8 additional posing and weapon holding hands, and as always, the Figma stand.
Panther's transition to Figma went fairly well. As with most characters featuring revealing costumes, the body curves aren't quite there and the joints are that much more obvious, but the fantastic face plates and detailing in the hair does make up for it.
Plus she's dressed in red, the colour of winners.
Articulation wise, you get some additional toys to play with. You get ankles, single jointed knees, thigh twist, hips, mid torso, standard shoulders with some lateral movement and bicep swivel, single jointed elbows with forearm rotation, wrists, head, and points of articulation for each hair segment. If you're for the full count, her tail has two points of articulation, and her whip is in three rotatable segements.
The hips do move downward slighltly to allow for more range of motion, but unlike Catwoman, Panther doesn't have a floating groin piece which limits the extra articulation you get. On the plus side, the suit still looks smooth and idiots like me have one less thing to break. Overall, you're still gonna do pretty well posing her, and you'll be able to make use of those thigh twists to help achieve to those extra slinky dynamic poses.
Paint wise, its safe to say I'm a huge fan. Smooth, high gloss reds and pink as the main colour, relatively few accent colours (which means fewer things disturbing the glossy finish). Flesh tones and other main colours are also applied expertly, and the decal work is of course up to snuff. As a bonus, the high gloss finish looks just marvelous under a strong light source, which is what I use for my stuff.
On the subject of Build Quality, the only thing really to report is that I find that the hands don't quite say on the pegs that securely. Now I'm not sure if this is due to play wear or not, but I've had this issue with other figures that are new. It does mean you're less likely to break the peg while changing hands, but you drop one of these hands on the ground and you'll be cursing the Gods while searching for it. Material choice, joint tolerance, and all other factors are acceptable.
I enjoyed my time photographing this figure and simply adore the sculpt, as well as the glossy red. Posing options are pretty good. Overall, I'm fairly confident that even amongst the dozens of female Figma on my shelves, Panther will always be front and center, showing the rest of the ladies how its done.
Maybe in a few years time when the dust settles, I'll try to get the rest of the ladies from this line - at least it should be easier to accomplish as I believe the entire lineup was released as Figma, which is more than I can say for the Persona 4 lineup.
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.
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.