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WIPO Director General Francis Gurry (second from left), Morocco's Minister of Communications and Government Spokesperson Mustafa Khalfi (third from left), and members of the WIPO Secretariat applaud adoption of a new international treaty that will facilitate access to published works for blind, visually impaired and print-disabled persons. The treaty was formally adopted on June 27, 2013. The Kingdom of Morrocco hosted WIPO's Diplomatic Conference in Marrakesh from June 17 to 28, 2013.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Photo: POH
Portraits of Hope's unprecedented Los Angeles coastline public art and civic project involving more than 10,500 kids, adults and volunteers, which visually transformed all 156 Los Angeles County beach lifeguard towers on 31 miles of beach – including Malibu, Will Rogers, Santa Monica, Venice, Marina Del Rey, Playa Del Rey, El Segundo, Manhattan Beach, Hermosa Beach, Redondo Beach, Torrance, Palos Verdes, and San Pedro. www.portraitsofhope.org
Summer of Color -- A Portraits of Hope Project
Portraits of Hope's LA County Public Art and Civic Project – LA County Lifeguard Towers
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
156 Los Angeles County Lifeguard Towers
31 Miles of Beach and Coastline
10,500 Children and Adults
118 Participating Schools, Hospitals, Social Service and Civic Institutions
350,000 Sq. Ft of Paintings
Youth and Program Sessions in Greater LA
Project-based learning: interdisciplinary contemporary issues and civic
education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for
hospitalized children and persons with
disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, visual impairments, and other serious conditions
6-month program and collaborative
phase
5-month Los Angeles County beach public art
exhibition
Close Cooperation with LA County Supervisors Zev Yaroslavsky and Don Knabe and the LA County Department of Beaches and Harbors and LA County Lifeguards
Special thank you to Image Options, Laird Plastics and Recycling, Ford Motor Company
Benjamin Moore Paints, Skinny Cow, Verseidag Seemee US, EFI Vutek, Morley Builders, Vista Paint, The Weingart Foundation, CornerstoneOnDemand, Drumstick, Chris Bonas, Casa Del Mar, Tim Bennett, Andy Boyle, Nazdar Coatings, Adina Beverages, Robert Gore Rifkind
Foundation, Helen and Peter Bing, Loren Philip Photography, Starbucks Volunteer Services,
Subversive Nature Designs, MACtac, The Barnes Family, Hasbro Studios, Wooster Brush, The Bachelor, UCLA, Mark Benjamin, Susan Kohlmann, Tomarco Fastening & Anchoring Solutions, AAA Flag & Banner, Jenner & Block, A.V.I. Construction, The Newberg Family, Debra Ricketts, The Penske Family, The Davidow Charitable Fund. Annie Barnes, UCLA Freshmen and Transfer Students, USC-UNICEF, LMU Students
Visually distilling what a family get-together can look like, for me.
Canon 5D Classic + Canon EF 50mm F1.8 v1
The guided tour shows visually impaired and blind people the manifold connections between art and technology.
Credit: Florian Voggeneder
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
Autofocus misses from time to time, especially in visually complex scenes like this colorful market scene in the city of Jinka, in southern Ethiopia. I shot quick and the camera took its best guess. Oh well. The importance here: The lovely, funny young girl in the blue dress led me through the streets of Jinka for close to an hour for her own amusement. This was the only shot I managed to get of her.
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.
Pretty in pink — and pink and pink! Tamera Mowry-Housley is on cloud nine following her baby shower earlier this month. The pregnant co-host of The Real, who is expecting a baby girl in July, dropped by Us Weekly’s New York office this week to gush about the co-ed affair (beer was...
fashionlifestyle.org/tamera-mowry-housley-gushes-about-vi...
Day 132 of 365 (Year Two)
Summer "must see" movie number two!
The critics weren't nearly as nice to this flick as they were to Ironman. Our local paper gave it a C and claimed that while it was visually stunning, to the point of being overdone, it had no plot and he really really didn't like it.
I have to say that guy was full of crap! I haven't had so much fun watching a movie since I saw South Park opening night. This movie is a blast! If you grew up watching the cartoon then you will LOVE THIS MOVIE.
Speed Racer is to anime movie adaptations what Sin City and 300 was to graphic novel movie adaptations. It was like watching the cartoon come to life. Was it realistic? Not a bit, but boy was it fun and I mean really fun. I wish I knew how to describe it. The best I can describe it is by saying it IS the cartoon come to life.
It was updated a bit. Trixie and Speed actually have a relationship and Spritle is more like a modern kid in that he actually uses the finger. Everything from the cartoon is there though. The race scenes were amazing and a hell of a lot of fun to watch.
I liked it so much I want to go back and see it in IMAX. Kathy isn't up for that, but I think I can convince some friends to go. Hell, I'll go alone if I have to!
There was a lot of humor in it as well. I want the neon sign that was in the lair of the Thor-azines! The answer to the age old question of who is cooler, ninjas or pirates, was answered to my satisfaction as well. When (and if) you see the movie, check out the "Not-ja's" underware! Apparently, even ninjas know that pirates rule!
It really is a shame that the critic whose review I read didn't get the movie. He claimed there was no plot. I don't know what movie he saw, but the one I saw had one. Sure, it wasn't some complex multi-layered twisting and turning plot, but there was one. I got it, Kathy got it and my friend Tony got it.
I don't know that it was better than Ironman, but, like I've said several times before, damn was it fun! If you have never seen the cartoon, you may miss a lot of the jokes and tributes to the original cartoon, but even with that it is still a fun movie. I highly recommend this one to everyone!
The Drums of Africa is a visually expressed personal guidance system. Our ancestors have documented the lessons of life into profound proverbs that can be easily remembered and referred to in our approach to everyday life. The series
displays these proverbs as typographic compositions combined with tribal forms found in South Africa’s folk
arts and crafts. In fact, symbolic elements from the intricate beadwork of the Bantu-speaking tribes, the refined basketry of the Zulu, and the highly coloured, bold, geometric forms of the Ndebele, ordain the fragile hand-drawn Helvetica typeface.
The result is a combination of contemporary type,
decorated with traditional silhouettes. Upholding the lessons and motivations of African culture, the compositions serve as daily affirmations and motivations.
The original oil paintings are on display at Kozi’s : Meet ’n Eat, an African inspired restaurant in Athens, Greece. A limited edition of signed prints have been created to accompany the work and are also available online at www.dimitratzanos.com
The 220a was succeeded in March 1956 by the 220S, which was externally almost identical, but had an upgraded version of the 2.2L inline-six (100 PS (74 kW; 99 hp), later 106 PS (78 kW; 105 hp)), due to the use of twin-carburettors.
Visually, the 220S featured a new one piece front bumper, instead of the 3-piece bumper used on the 220a. Also, the twin chrome and rubber strips running under the doors of the 220a were replaced with solid chrome strips. The most obvious difference is the addition of a chrome strip running along the front fenders and doors of the 220S.
The 220S was available with a 4-speed column shift manual transmission, with an optional Hydrak automatic clutch. This made use of small microswitches on the gear selector that automatically disengaged the clutch when the driver changed gears. Many cars have subsequently been converted to use a standard clutch, due to the high maintenece costs of continuing to use the Hydrak clutch.
Also introduced with the 220S was the W105 219, which from the a-pillar forward was essentially a single-carburettor 220a, but rearward from the a-pillar it used the shorter body of the W120/W121 180/190 models.
In July 1956 a Cabriolet (two doors, four seats) joined the line-up, and in October 1956 a Coupé version followed suit. Some Cabriolets were finished with folding rear seats to accommodate additional luggage.
Until October 1959, 55,279 220S saloons and 3,429 Cabriolets and Coupés were built.
The fuel-injected 220SE versions that officially bore the model code W128 were introduced in October 1958 and carried on until November 1960
(Wikipedia)
- - -
Das Mercedes-Benz 220 S Cabriolet wurde ab Juli 1956 angeboten. Das 220 S Coupé kam drei Monate später im Oktober 1956 auf den Markt. Es entsprach bis auf das feste Dach der offenen Version. Für beide Fahrzeuge, die auf der 220 S Limousine (W 180 II) basierten, wurden derselbe Preis von 21.500 DM berechnet.
Insbesondere die Fertigung des Ponton-Cabriolets darf als gelungene Entwicklungsarbeit gelten, war doch mit diesem Typ erstmals bei Daimler-Benz eine selbsttragende Karosserie ohne Dachstreben in Verwendung, die zur Vermeidung von Karosserie-Verwindungen eine extrem steife und damit schwerere Bodengruppe erfordert. Das Cabriolet war daher trotz kürzeren Radstands und den zwei Türen 100 kg schwerer als die Viertürer-Limousinen.
Der Motor mit 74 kW (100 PS) wurde unverändert übernommen. Mit diesem Aggregat waren die Wagen ansprechend motorisiert. Das Innere ist mit Edelholz-Armaturenbrett und Fenstereinfassungen, Lederpolsterung, Heizung und Lüftung mit Standgebläse sowie übersichtlich angeordneten Rundarmaturen ausgestattet.
Im August 1957 wurden von fast allen Typen des Personenwagen-Programms verbesserte Varianten präsentiert. Auch das 220 S Coupé und Cabriolet hatte man einer Modellpflege unterzogen, aus der beide Typen mit dezenten Modifikationen und einer auf 78 kW (106 PS) erhöhten Motorleistung hervorgingen. Äußerlich sichtbar war lediglich die Änderung der vorderen Stoßstange mit der Kennzeichenblende sowie die modifizierte Beleuchtung des hinteren Kennzeichens, die – wie bei den Limousinen – in die Stoßstangenhörner verlegt worden war.
(Wikipedia)
Visually challenged people require braille books in order to read. However, not many books are available in braille due to cost and inefficiency. Translating a 500 page book into braille nearly doubles the thickness. EAP is a technology that can dynamically change the surface pattern by way of an electromagnetic signal – simulating braille text. Not exactly a new idea but a nice executive nonetheless.
Leica M9 + 28mm Summicron @ f/4, ISO 1600, 1/125 sec.
Beautiful colors and great rendering, but I still have a hard time figuring out exactly what I am shooting with the 28mm lens. I didn't quite position this right even after trying 4 or 5 times.
If you are used to SLR (as I am), using a 28mm or any wide angle lens with an M9 is really tough.
[107]
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.
Visually describing eigenvectors with associated Legendre polynomials. Made with Shodor's AssocLegendre class - www.shodor.org/refdesk/Resources/Libraries/AssocLegendre/...
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
This NASA/ESA Hubble Space Telescope image presents a visually striking collection of interstellar gas and dust. Named RCW 7, the nebula is located just over 5,300 light-years from Earth in the constellation Puppis.
Nebulae are areas rich in the raw material needed to form new stars. Under the influence of gravity, parts of these molecular clouds collapse until they coalesce into very young, developing stars, called protostars, which are still surrounded by spinning discs of leftover gas and dust. The protostars forming in RCW 7 are particularly massive, giving off strongly ionizing radiation and fierce stellar winds that transformed the nebula into a H II region.
H II regions are filled with hydrogen ions — H I refers to a normal hydrogen atom, while H II is hydrogen that lost its electron making it an ion. Ultraviolet radiation from the massive protostars excites the hydrogen in the nebula, causing it to emit light that gives this nebula its soft pinkish glow.
The Hubble data in this image came from the study of a particularly massive protostellar binary named IRAS 07299-1651, still in its glowing cocoon of gas in the curling clouds toward the top of the image. To expose this star and its siblings, astronomers used Hubble’s Wide Field Camera 3 in near-infrared light. The massive protostars in this image are brightest in ultraviolet light, but they emit plenty of infrared light too. Infrared light’s longer wavelength lets it pass through much of the gas and dust in the cloud allowing Hubble to capture it. Many of the larger-looking stars in this image are foreground stars that are not part of the nebula. Instead, they sit between the nebula and our solar system.
The creation of an H II region marks the beginning of the end for a molecular cloud like RCW 7. Within only a few million years, radiation and winds from the massive stars will gradually disperse the nebula’s gas — even more so as the most massive stars come to the end of their lives in supernova explosions. New stars in this nebula will incorporate only a fraction of the nebula’s gas, the rest will spread throughout the galaxy to eventually form new molecular clouds.
For more information: science.nasa.gov/missions/hubble/hubble-captures-infant-s...
Text credit: European Space Agency
Image credit: ESA/Hubble & NASA, J. Tan (Chalmers University & University of Virginia), R. Fedriani
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
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.
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.
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.
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.
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.
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.
668 Carnarvon Street, New Westminster, BC.
Description of Historic Place:
The New Westminster Courthouse is a large three-storey red brick and stone Romanesque Revival building. It occupies a commanding hillside site and is a visually dominating presence on Carnarvon Street.
Heritage Value:
The New Westminster Courthouse is symbolic of the administration of justice during the province's early years. As the first capital of British Columbia and a prominent commercial centre, New Westminster was vital in the establishment of order in the colony, and remained an important administrative centre. In 1860, the first court house was erected, a one-storey building with a canvas ceiling. This was replaced by a new structure in Market Square in 1873. In 1890-91, this imposing new brick and stone court house was built, located uphill from the city's commercial centre. In 1891, it was opened at the Spring Assizes with due ceremony by Sir Matthew Baillie Begbie, B.C.'s first judge and first Chief Justice. The interior of the courthouse was destroyed in the Great Fire of 1898 but the building was reconstructed in 1899 to the same general plan.
The New Westminster Courthouse is valued as one of the most significant institutional projects designed by George William Grant (1852-1925), a prolific architect who designed many of the buildings in downtown New Westminster, both before and after the Great Fire in 1898. Grant designed the 1891 Courthouse, and then supervised its reconstruction in 1899.
Additionally, the New Westminster Court House is significant for its contribution to the consistent and distinctive built form of downtown New Westminster, which dates from 1898 to 1913, when the city was the major centre of commercial and industrial output for the booming Fraser Valley area. The Courthouse is an outstanding example of the Romanesque Revival style, the preferred idiom for public and commercial buildings in the late nineteenth century and Grant's signature style at the time. The eclectic nature and picturesque appearance of the design demonstrate the sensibilities of the Late Victorian era. The robust facades, designed to be viewed from different vantage points, were carefully modulated to convey an image of strength and security through contrasting textures and a unity of materials.
Source: Heritage Planning Files, City of New Westminster
Character-Defining Elements:
Key elements that define the heritage character of the New Westminster Courthouse include its:
- location, as a prominent part of a grouping of late Victorian and Edwardian era commercial buildings in historic downtown New Westminster and adjacent to the Land Registry Office
- form, scale and massing, as expressed by its complex picturesque roofline, symmetrical central block with articulated wings, polygonal tower at rear and long rear gabled extension
- highly articulated roof, with individual steeply pitched hip roofs over separate blocks, joined by lower roofs, and embellished with gable projections;
- original central main entry facing Clarkson Street with rounded arch with keystone
- masonry construction, including: rubble-stone granite foundations; red face brick with flush-struck mortar joints; and mortar parged stringcourses, window surrounds and sculptural panels
- elements of the Romanesque Revival style, including massive masonry construction, picturesque massing and round-arched structural openings
- complex fenestration, with a variety of round-arched and flat window openings, contrasting wide and narrow openings and varied window sizes
- other exterior features such as the highly detailed copper cornice with modillions on the polygonal tower
- site features, including a rubble-stone retaining wall
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)
Esfahan. Masjed-e Shah (The Royal Mosque). The richness of the blue-tiled mosaic designs are visually stunning.
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
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.
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
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.
Thrusday.
Not a typo - I just like that version of Thursday. More visually balanced, sounds more pleasing too.
I'm going to edit this pic with a texture and upload it later for my real day 81, I just wanted to get a picture up here so I could keep uploading.
So today I realized that even though I can't hang out with people outside of school, I can have a pretty wicked time inside of school, in fact, I quite enjoy the little groups I interact with in school. (And don't forget, viewers, this description is for me, so if you get bored you don't have to read it)
1st period me and my friend Jonet and an aquiantence Mark chill while I do homework and they look at magazines. 2nd period I draw and talk to Minnie, a thin and pretty Indian girl who tells me of her clubbing adventures and various hook-ups. I also talk to a group of junior girls at my table, one of which also wants to be a filmmaker (and is totally into indie films!). 3rd period I discuss politics with an obnoxious attention-whore Olivia, whose radically liberal views are fun to agree with, and whom I can actually have a somewhat decent political conversation with. Plus I get to talk to Lisa, who doesn't seem to care what's going on in the government, but is funny as hell anyways. 4th period CALCULUS what fun that class is, me, Carlos, Natalie, David w., Shreya, and all those fun people plus Mr. Cetron, a cool class, enjoyable. 5th period, Jonet, Carlos, Sowmya, Mrs. Kilgannon, major intellectual conversation about literature, symbolism, all that fun stuff, mentally challenging, I like a good challenge. 6th period, either talking with Biondi, an opinionated man, and English teacher, my Independent Study teacher, film fanatic, my ex-therapist, or lunch, or lunch and Portfolio Prep with Maya and Justin and Erica and Tim and Rocco and Jonet this is probably my favorite period of the day, when I get to come here for lunch. I love this group, all us little artists, talking nonesense, talking creatives, laughing, joking, critiquing, I just feel so right here, there are good vibes all over this period. I consult Justin on his art projects, I trade sculpting tips with Tim, I laugh at Rocco's jokes, I envy Maya's art. 7th portfolio a switch in students, out goes Rocco and Jonet, in comes Minnie, still a generally good period, I get more work done. 8th Video Tech, my calling, mr. clive, andrew, ankit (funny as hell indian kid), anthony, lala, tom, brian, chris, and then all those independent study kids. More of 'my people". Then 9th, gym or study hall, self-defense, beating people up, or chatting in chairs with good aquaintances. I don't know how to fucking spell that word. God, I love school even though I hate it. I love that it's fall. I don't want it to be over just yet.
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 same tulip from another angle. I found the yellows in the colour image too garish, but wow invert that or play up the black and white and it's visually interesting.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Visually speaking this is not the most mind blowing image every created. It's more of a simplistic take of the story. Nevertheless it doesn't come close to the awesomeness of the special edition cover featuring HAL in close up. At least, it feels better than this weird scifi version of the standard DVD edition (you know, the one showing a flying space ship - which has so important for the overall story. Because, you know, he wouldn't have reached the space station without it.)