View allAll Photos Tagged visually
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of six VA national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
Blind representatives and government delegates on June 25, 2013, celebrate agreement on the substantive provisions of an international treaty that will improve access to published works for blind, visually impaired and print disabled people. The treaty will be formally adopted in plenary session on June 27 and signed on June 28, 2013. The Kingdom of Morrocco hosted WIPO's Diplomatic Conference in Marrakesh from June 17 to 28, 2013.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
#AbFav_MONTH_of_DECEMBER_🎀
I am always on the look-out for visually interesting props, this is obviously a set of fibre optic lights, consists of 6 balls which I arranged in different ways to get a pleasing composition.
The light-guiding principle behind optical fibres was first demonstrated in Victorian times when the total internal reflection principle was used to illuminate streams of water in elaborate public fountains, but modern optical fibres were only developed in the beginning of the 1950's.
An optical fibre is a flexible, transparent fibre made by drawing glass (silica) or plastic to a diameter slightly thicker than that of a human hair.
Daniel Colladon and Jacques Babinet first demonstrated the guiding of light by refraction, the principle that makes fibre optics possible, in Paris in the early 1840s.
Now that we are back on Winter time, it is dark very early, the weather's gone bad, I've had plenty of time to think and be creative in the studio once more.
And we NEED light and joy more than ever!
I am enjoying the burst of creativity, I wish you all a day full of light and THANK you for your visit and comments, so appreciated, Magda (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
Fibre-optics, white, tips, lights, balls, six, triangle, shape, black-background, colour, design, studio, square, Hasselblad, "Magda indigo"
Very easily recognize, visually, when there is light in the night. And it's clear it's useful so that we can find our bindings, and know where we must go to.
But visually it's very easy. What about ourselves? Transparency and honesty are always a tremendous help, as it's cleanness always allows us to distinguish more light. And to get to this transparency and honesty the search for the Truth is quite needed. Not only when it's easy and evident. But especially when it is difficult and when an effort is needed. It is within this effort, or suffering as Gandhi (and so many more) would say, that we find a bigger human advance.
After all, ... darkness isn't anything else than absence of light. In all respects.
See where this picture was taken [?]
Bien reconocemos, visualmente, cuándo hay una luz durante la noche. Y bien nos sirve para orientarnos, y saber dónde estamos, o hacia dónde ir.
Pero visualmente es muy fácil. ¿Y nosotros mismos? La transparencia y honestidad siempre nos son de enorme ayuda, puesto que esa limpieza siempre permite distinguir más luz. Y para llegar a esta transparencia u honestidad siempre es necesaria una búsqueda fiel de la verdad. No tan sólo cuando sea fácil y evidente, sino especialmente cuando sea difícil y suponga un esfuerzo. Y es este esfuerzo, o sufrimiento como diría Gandhi (y tantos otros), el que permite un mayor avance humano.
Al fin y al cabo, ... la oscuridad no es nada más que la ausencia de luz. En todos los sentidos.
WIPO Director General Francis Gurry (second from left), Morocco's Minister of Communications and Government Spokesperson Mustafa Khalfi (third from left), and members of the WIPO Secretariat applaud adoption of a new international treaty that will facilitate access to published works for blind, visually impaired and print-disabled persons. The treaty was formally adopted on June 27, 2013. The Kingdom of Morrocco hosted WIPO's Diplomatic Conference in Marrakesh from June 17 to 28, 2013.
Copyright: WIPO. Photo: Hicham Rachidi. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
My apartment building has a large trash and recycling area that I can visually inspect from my unit. Generally, most of the larger articles of furniture are things like old mattresses and bed frame and most of the other home furnishings tend to be cheaper press board construction with the vinyl fake wood grain print on it. Once in a while, there's the odd table with solid wood legs made out of oak or pine and I try to grab those when I can actually spot them. But generally, finding anything made of decent solid wood that isn't completely damaged beyond hope is a rare find for my building. But a few days ago, this piece in the picture above, appeared on the scene sitting beside a shorter all wood cart that likely served as a TV stand with storage below. That piece was cheaply made and all I removed off of that were the lower doors, the one drawer and some of the metal hardware. It was not a Gibbard product!
This dresser, ready and waiting for the garbage truck to smash it to bits and haul it off to the landfill seemed to silently cry out to me; "Save me, Jeff! I want to live!" So I went back to my unit with the drawer and lower doors from the lesser unit, got my trusty old moving dolly, (with two extremely flat tires) and rescued this fine old girl from a stinky, toxic grave! :)
This likely depression era dresser was constructed of solid walnut with the exception of the drawer bottoms, which are a primitive plywood affair with a 1/8th" walnut slice glued to a 1/16th" slice of spruce for added rigidity.
At first glance, while still outside in the service yard, it was actually somewhat difficult to figure out what kind of wood it was because a dark brown stain was used on much of the exterior sides, legs and top of the dresser with several coats of varnish or shellac on the exterior drawer fronts. So a massive amount of the grain detail of the wood was essentially hidden and lost to the end user. I could see why they chose to do that as they weren't using quarter sawn, matched pieces to build it. There was more just a looser general visual match-up to get the planks together for the glue up of the larger top and side panels, which are all 13/16ths thick, 5, 7 and 8 inch wide planks; same size as all the drawer heights.
So on top of the engineered "camouflage factory stain", there were, and still are, decades of wear on the finish from its previous owner(s); the insides of a couple of the drawers were especially bad with some type of liquid goop that spilled open and left a hardened crust like residue that just looked nasty! lol There were additionally the usual dings, dents, gouges, broken off corners from careless use, paint splatter on all the places you'd expect to see when you don't properly cover over your stuff before the paint rollers fly into action on your walls and ceiling! You know...Wear!!! :)
But I've now completed the process of taking it completely apart and have started on the restoration process of refinishing the worst looking surfaces and cleaning up the rest, which are still in decent shape. I should probably also add that the factory dark brown finish was probably far less of a visual impedance when it was all new and decently clean with no obvious scratches or mars on the finish. Gibbard was said to have a 22 step finishing regiment on woods such as this type, wonderful walnut! So it no doubt gleamed when it was new.
At this point though, I'm of two minds on whether to simply put it all back together again, as designed or to make some modifications to it to build and re-purpose it into a fancy tool chest table stand/secondary prep station with lower storage bays and drawers for my fledgling woodworking hobby, and make use of the leftover solid walnut lumber for some of my other ongoing projects. I'm still working on early design stage of all that...stay tuned for ongoing developments! :).
Cheers! :)
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
A comment from the Irish Amateur Wrestling Association
"Inclusiveness is key! This was spectacular.
A visually impaired wrestler competing in a main stream championship wrestling tournament. Arron, from Portlaoise Combat Academy Vs Peyton from Mohawk Valley Wrestling Club NY. One of the wrestlers was visually impaired, so to even out abilities, both wrestlers were blind folded.
Well done to Referee John for his experienced approach to this bout.
Great sportsmanship & wrestling from both."
The Irish Open 2022 Freestyle Wrestling Tournament was held on Saturday 15 October 2022 at :-
The National Sports Campus
Snugborough Rd,
Blanchardstown
Dublin
D05 EPN4
More than 160 wrestlers, representing 33 clubs were in action at the Sports Campus Ireland National Indoor Arena in Blanchardstown.
The I.A.W.A' s biggest championship yet! Was organised on 3 mats with wrestlers from clubs around Ireland and the World!
There were wrestlers from Ireland, the UK, the USA and more!.
Visually the cupcakes are quite stunning, and look incredible. Tastewise they leave something to be desired. Some were bland, and didn't leave much of an impression on me, except for the one in the center which was supposed to be a chocolate mint, that one I remember cause it tasted like toothpaste.
All photos in this set taken by JEX, all text written by me, unless otherwise noted.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
www.thelmagazine.com/gyrobase/store-front-the-disappearin...
Store Front is a visually compelling tome filled with photographs of stores that have maintained the I've-been-on-this-corner-since-your-ancestors-came-over-from-the-old-country look. Photographers Karla and James Murray intentionally selected places that "look like they've been around forever" — though, ironically, the stores may only exist forever in photographic form, since they're becoming ephemera so quickly. Organized by borough and further subdivided by neighborhood, the book encyclopedically chronicles the shops that have (or had) outlasted the onslaught of aesthetic and commercial homogeneity.
The project, while evoking all kinds of politicized issues about commerce, is ultimately about art. Always interested in fonts, it was in scavenging the city for graffiti that led the Murrays to Storefront. Returning multiple times to a particular neighborhood, the couple noticed how sharp the local turnover was between one trip and the next. Without photography, these marginalized subjects would have faded into the ether, unremembered. It became their quest to counter the vanishing of old-world New York.
Their archival project, carried out with near-exhaustive zeal, is in the vein of Bernd and Hilla Becher (a German couple who photographed neglected industrial architecture from a firmly objective point of view), with an August Sander-level scope. The Murrays shot with a traditional 35mm manual camera, and the old-school apparatus serves as an apt mirror of the time-honored authenticity of the subjects. The un-manipulated approach wholly preserves the vintage aesthetic of the stores.
The extinction list for small businesses is swiftly growing as the contemporary city shifts. A certain manic pursuit was necessary to archeologically capture these venues before they were lost in the constant palimpsest that is New York. The Murrays note in their introduction that a third (a third!) of the businesses photographed no longer exist, which imbues the photos with a mournful feeling.
Small-scale business survival is rooted in endurance, with signs often making proud declarations of longevity (Yonah Shimmel Knish Bakery, original since 1910; Russo's Fresh Mozzarella & Pasta, since 1908). Embedded in these dates is a confirmation of successfully maintained tradition that is tried and true and unflappable in the face of passing trends. These long-standing guys are the real New Yorkers, with street cred as caked into their reputation as the stains into their decades-old signs. It is they who have witnessed gentrification firsthand — not just of populace, but of branding, of visual grammar. They have refused to wither in the face of trademark. The signs' missing letters, the rusted corners — they are a badge of individuality. Their ramshackle aesthetic dates them as much as their actual histories, and proudly so. Like modern forensics, you can actually size up an older store by the visual cues of its exterior. The Murrays list some singular visual hallmarks indicative of the stores' storied pasts, including overhanging signs (which are no longer permitted and must be grandfathered); huge turn-of-the-19th and -20th century wooden display cases; rolling wooden ladders that hook onto a metal railing for easy access to upper display shelves (found at hardware stores and liquor stores, dating back before Prohibition). Something as seemingly mundane as a ladder is actually a historical marker.
Of all of storefronts photographed, it was a single letter on the sign for Ralph's Discount City in Tribeca that provided the most surprising example of original typography. "We were fascinated by the "S" when we first saw it," the Murrays recount. "We had never seen anything quite like it before. One person even commented that "it looks like an Elsa Peretti heart. We specifically chose Ralph's as the cover image because we liked the font so much." The fate of the store that used such innovation? Out of business.
The few modern enterprises trying to recapture a vintage approach to signage have nowhere to turn. The Murrays were contacted by an East Village bar owner who wanted to produce a sign resembling the ones they had photographed. "He has not been able to locate anybody capable of doing this because most sign-makers now have plastic printed signs that are computer-designed, not hand-painted or original."
In losing intricate flourishes of signage — and the kinds of stores that interested in having them — the city is losing unique neighborhood localization. In the four pull-out pages, the few stubborn huddles of consecutive mom-and-pop shops represent an old world microcosm. It's startling to realize how foreign they look when compared to the streetscape we are used to strolling past.
In the face of this downward economic spiral, business is bleak for megacompanies and little guys both. But the authors maintain a hopeful attitude, emphasizing that where you shop is as much of a choice as what you buy. These places instill a sense of nostalgia, they honor tradition, and they contribute to the aesthetic of New York's commercial and architectural legacy. Though their pictures are worth a thousand words, being devoted to small businesses while they're still standing is worth all the more.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Being visually literate means to see poetic meaning in even the smallest and most pedestrian on details. We are surrounded by object D'Art at every moment. Life is incredibly poetic, however our eyes are veiled in the patina of ephemeral and transitory external events.
What is an outliner?
An outliner is simply a hierarchical editor that allows logical organisation of information visually showing a heirarchy of parent, child relationships. Outliners work because it is thought the heirarchy storage is somegthing that humans grok. [0]
Why do I need one?
The reason I need the outliner is simple. I need to be able to link blocks of information, links, text entries, images all in some form of hierarchy. I simply can't do this with the current set of blocks I have and hence the post, "Playing with blocks on the floor" [1].
For any particular post I need some way of having say a text entry with the Entry block. Then at some time in the future I may add say 3 more comments related to that entry, a photo and several link blocks. All this can be acheived if I create an outlining block that acts as a skeleton that I can add extra blocks to.
In essence the Outliner block is really just a connector that points to a parent and/or a child block. At the same time have a one to one relationship with an Entry, Link, Image block.
Above picture
The above picture shows that I can add various blocks together. The key bit is with a Outline block it holds together this structure. Think of the Outline block as just a connector on a block allowing them to be connected. The Outliner allows you to connect blocks together.
Just what I want.
More about Outliners?
Outliners are the child idea of Doug Englebart [2] and has been continued extensivly by Dave Winer [3]. During the course of this write up I was listening to Dave on Outliners [3] and reading various references to Outliners [4], Dave Winer explaining outlining & programming [5], Doug Englebart [6] and Dave Winer meeting Doug Englebart in 2000 [7].
next >>>
References
[0] As heard in Dave Winers Interview on ITConversations, "Behind the Mic" with Doug Kaye, 1:09:05, 31.6 mb, recorded in 27/OCT/2004.
http://www.itconversations.com/shows/detail260.html
[Accessed Friday, March 30 2007]
[1] Bootload image on flickr, 2007MAR231514, "Playing with blocks on the floor"http://flickr.com/photos/bootload/431100768/
[Accessed Friday, March 30 2007]
[2] Wikipedia, Doug Englebart, "Wikipedia entry on Doug Englebart"
http://en.wikipedia.org/wiki/Doug_Engelbart
[Accessed Friday, March 30 2007]
[3] ITConversations, Dave Winer, "Behind the Mic with Doug Kaye, 1:09:05, 31.6 mb, recorded in 27/OCT/2004"
http://www.itconversations.com/shows/detail260.html
[Accessed Friday, March 30 2007]
[4] Google search, "dave winer & outliner"
http://www.google.com/search?q=dave+winer+outliners
[Accessed Friday, March 30 2007]
[5] Dave Winer, Outliners & Programmers, "Dave explains a bit of his history with outliners"
http://davewiner.userland.com/outlinersProgramming
[Accessed Friday, March 30 2007]
[6] Doug Englebart, "Dougs website, Bootstrap Institute"
[Accessed Friday, March 30 2007]
[7] Dave Winer meeting Doug Englebart, "Dinner with Doug Engelbart Friday, October 6, 2000"
http://davenet.smallpicture.com/2000/10/06/dinnerWithDougEngelbart.html
[Accessed Friday, March 30 2007]
Photo: Daniel Etya’ale.
Published in: Revue de Santé Oculaire Communautaire Vol. 4 No. 4 Août 2007 www.revuesoc.com
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of six VA national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
A visually impaired class member prepares her soap dish for decoration during a pottery lesson held at Croydon Visual (the working name of Croydon Voluntary Association for the Blind). Photo description: Gittè Araki is a change maker and pottery teacher. She leads a weekly class for the visually impaired at the CVAB community centre, a social hub for the blind people of Croydon. The class focuses on giving members a creative and tactile experience, whatever their level of sight or skill. Gittè inspires class members with her irrepressible enthusiasm, encouragement and individual attention. In this picture, Jean is preparing to decorate a soap dish made from rolled clay. Using limited vision, she is masking off some areas with newspaper, before applying a coloured slip glaze in order to create a striped pattern. Croydon Visual provides a wide range of services for the visually impaired community. Activities include art, yoga, skittles and dancing, in addition to practical help with independent living skills. The organisation and those who run it, touch the lives of a vast number of people. Gittè is one of many change makers who work and volunteer at CVAB.
The Shanghai Inter-City Pavilions’ Project focuses on the interesting connections and energy exchanges between people and cultures which, in nowadays globalized world, are more likely to be identified within local communities rather than in national contexts.
Shanghai in its quest to become an international city, considered by many a ‘foreign” city in China, can find its own identity through the confrontation with other places, harbors and friends, that had portrayed the contemporary status of art not in a generic way, but in the punctual and relevant projects presented in each pavilion.
So, despite this general and global tendency of amalgamation and simplification, the City Pavilions’ Project stands as a memento of independence of the extraordinary local. The individuality as an irreplaceable fragment of a bigger pictures that, with no pretentions of representing the whole, gives a glimpse of it, suggesting one of the many possible interpretations as a verse of a much more complicated poem.
The cities presented are in alphabetical order and followed by the curatorial team/organization:
Amsterdam Henk Slager, Antwerp Phillipe Pirotte, AucklandVincent Ward, Bandung Agung Jennong / Charles Esche / Defne Ayas / Davide Quadrio, Barcelona Julia Morandeira, Berlin Peter Anders, Bogota Juan Andres Gaitan, Brooklyn Cleopatra’s, Daejeon Kim Jiyon, Dakar Koyo Kouoh, Detroit Rebecca Mazzei, Diankou Qiu Zhefeng, Dusseldorf Beate Reifenscheid, Qi Yang, Istanbul Defne Ayas / Davide Quadrio, Lille Metropole Pierre Giner, Lima Jose Carlos Mariategui, Jorge Villacorta, Los Angeles Lauri Firstenberg, Mexico City, Magali Arriola, Daniela Perez, Moscow Nikolai Molok, Mumbai Diana Campbell/ Susan Hapgood, Palermo Laura Barreca / Davide Quadrio, Pittsburgh Chelsea Haines, Rhone-Alpes (Lyon) Thierry Raspail, San Francisco Chris Fitzpatrick, Sao Paulo Adriano Pedrosa, Sendai Shimizu Tamotsu / Kai Kenji, Sydney Aaron Seto / Toby Chapman / Sharon Chen as Curatorial project manager of the Sydney City Pavilion, Tehran Nina Moaddel / Benham Kamrani, Ulan Bator Uranchimeg (Orna) Tsultem, Vancouver Daina Augait.
Supervised by: the 9th Shanghai Biennale chief curator Qiu Zhijie and co-curators Boris Groys, Jens Hoffman and Johnson Chang Tsong-zung
Organized by: The Organizing Committee of Shanghai Biennale; managed by Davide Quadrio, Francesca Girelli and Huang Mi. In collaboration with Shanghai Huangpu district government.
The Shanghai Inter-City Pavilions’ Project takes place in the frame of 9th Shanghai Biennale “Reactivation”. Time: 2nd October 2012 to 31st December 2012
NWA 17502 is visually pleasing, the typical rock found on the lunar surface, itself a capsule reflecting the bombardment the moon has received, smashing rocks together by numerous meteor strikes.
This is a central slice from the single stone, classified as a lunar fragmental breccia. "Electron microprobe analysis confirms a lunar fragmental breccia with plagioclase-rich lithic clasts, mineral clasts of olivine and pigeonite, and shock melt. Major phases are plagioclase, pigeonite, and olivine."
It was found in 2024 in the Sahara desert, where it stuck out against the yellow sands. 6" x 3.5" x 2mm and 69g
The Triumph TR5 is a sports car built by the Triumph Motor Company in Coventry, England, between August 1967 and September 1968.[1]
Visually similar to the Michelotti-designed TR4 open two-seater it was derived from,[2] the TR5 replaced Triumph's 105 bhp (78 kW) SAE Standard inline-four engine with the much more powerful Lucas mechanical fuel-injected 150 bhp (110 kW) Triumph 2.5-litre straight-6. Price pressures and tighter emissions standards in the U.S. resulted in a much less powerful carburetted version, the TR250, being sold on the North American market.
At the time, fuel injection was uncommon in road cars. Triumph claimed in their sales brochure that it was the "First British production sports car with petrol injection".[3][4]
TR5
The base price of a 1968 TR5 in the UK was £1,260 including taxes. Standard equipment included front disc brakes, independent rear suspension, rack and pinion steering and a four speed gearbox. Optional extras included wire wheels (£38), overdrive (£60), and a tonneau cover (£13).[4]
The TR5 was available with the "Surrey Top" hard top, a weather protection system with rigid rear section including the rear window and removable fabric section over the driver and passenger's heads.
Specifications
Taken from the UK sales brochure.[3]
Engine: 2498 cc, 6 cylinder, 74.7 mm bore, 95 mm stroke, 9.5:1 compression ratio, 150 bhp (110 kW)
Turning circle: 10.1 m (33.1 ft)
Ground clearance: 152 mm (6.0 in)
Luggage capacity:
Max width: 1,180 mm (46.5 in)
Max height: 510 mm (20.1 in)
Capacities:
Fuel tank: 51 litres (11.22 imp gal; 13.47 US gal)
Engine sump: 4.53 litres (1.00 imp gal; 1.20 US gal)
Gearbox: 1.13 litres (0.25 imp gal; 0.30 US gal)
Acceleration in top:
30 to 50 mph: 7 s
40 to 60 mph: 7 s
60 to 80 mph: 8 s
Standing 0.25 miles (0.40 km) : 16.5 s
Gear ratios:
Top3rd2nd1stRev.
Ratios1.01.332.013.143.22
Overall3.454.596.9410.8311.11
***UPDATE*** 7/2/13 Some things are meant to swim upstream. This is heading exactly that way, where it belongs. Thanks LC.
Its the most impressive Windsor style chair on the planet, like a Windsor chair taking human growth hormones and deer antler spray.
I love that these leaves are so huge leaving very little negative space. I think it's really interesting visually.
I felt like stamping out a visually quiet scene after the previous video that was visually LOUD. A moonlit horseback ride near a waterfall seemed like it would fit the bill.
Stamps used: Side Falls Lg. 075G, Shimmering 286E, Pine Tree 196F, Glowing Orb 284F, and Lady on Horse 168A. Interior quotes from Scenic Sentiments sheet #3.
Original: Dye based and pigment ink on glossy cardstock. Gel and alcohol pens.
See how this scene was made here:
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of six VA national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
The Mermaid Whistles - Lillebælt, Fredericia, Denmark. A bathing facility for visually-impaired swimmers.
24 December 2019.
A group of blind and visually impaired performers from Morocco, Togo, United Kingdom, and Switzerland performed during a cultural event on October 6, 2016 organized by WIPO and the Government of Morocco. The cultural event also included an exhibition entitled "The Centenary of Industrial Property in Morocco."
The event was held on the sidelines of the WIPO Assemblies, which met in Geneva from October 3 to 11, 2016.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Toute reproduction sur un support imprimé ou publication sur internet devra faire l'objet d'une demande expresse auprès du service communication de la Fédération Française Handisport.
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Toute utilisation ainsi autorisée devra mentionner le crédit photo (voir nom du fichier ci-dessus : “©…” ou métadonnées de la photo dans sa taille originale).
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Contact : photos [at] handisport.org
visually, it doesn't look like much more than a brass bowl... but as soon as the wooden pedstal is put in use... a soft, resonating tone starts building
Perhaps the most visually stunning aspect of the exhibit, the Glass House was conceptualized by Chihuly and executed by local architecture firm Owen Richards (which also designed McCaw Hall and Seattle International Film Festival’s new headquarters at Seattle Center). Resembling a glass chapel at the foot of the Space Needle.
22-year-old Azer Ćatović was born in Mostar, and has been living here for 14 years. Azer grew up with a sight defect, but by secondary school, he had become fully independent thanks to his education.
As he awaits the start of the second academic year, he spends his summer break doing running training sessions, reading, and taking walks. He does most of his running sessions on a treadmill in the fitness hall of the Center for Blind and Visually Impaired Children and Youth.
The centre was recently renovated by UNDP and offers full time support in learning and other skills like mobility, self-care, and sight exercises for the visually impaired, use of teaching aids, playing games, going out to town and attending events.
Read more: bit.ly/35fhLVw
Photos: Sulejman Omerbašić/ UNDP Bosnia and Herzegovina
India’s Permanent Representative to the United Nations in Geneva Dilip Sinha (front left) presented WIPO Director General Francis Gurry (front right) on June 30, 2014 with his country's instrument of ratification to the Marrakesh Treaty to Facilitate Access to Published Works for Persons Who Are Blind, Visually Impaired or Otherwise Print Disabled. India is the first nation to ratify the Marrakesh Treaty, which comes into force after 20 ratifications or accessions.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
22-year-old Azer Ćatović was born in Mostar, and has been living here for 14 years. Azer grew up with a sight defect, but by secondary school, he had become fully independent thanks to his education.
As he awaits the start of the second academic year, he spends his summer break doing running training sessions, reading, and taking walks. He does most of his running sessions on a treadmill in the fitness hall of the Center for Blind and Visually Impaired Children and Youth.
The centre was recently renovated by UNDP and offers full time support in learning and other skills like mobility, self-care, and sight exercises for the visually impaired, use of teaching aids, playing games, going out to town and attending events.
Read more: bit.ly/35fhLVw
Photos: Sulejman Omerbašić/ UNDP Bosnia and Herzegovina
Schoolhouse Quilters' Guild of Cumberland Maryland
Name of Panel" Reaching for the Stars"
Dream Theme: Science
Did you enjoy this project? "We all enjoyed this project. We had Dan Oates, coordinator of SCIVIS (Space Camp for Interested Visually Impaired Students) to speak to the group.
What could the next IFC project be? "How about a "garden" theme where everyone would send in fabric/fiber representations of plants - they could be arranged in a 'botanical fiber garden'! You could assign each participant a plant to represent - each plant could have a little tag telling about it and giving it's name."
Techniques & Materials Used: Machine Applique and Machine Quilting
Whats the story behind your panel? "When we were thinking about participating in the Dream Rocket project, one of our members told us that the students from the School for the Blind in Rommey, WV (a town in our reagon) had been participating in SCIVIS (Space Camp for Interested Visually Impaired Students) for the twenty years it's been in existance. SCIVIS began when a blind adult was turned away from Space Camp in Huntsville because of her blindness. Now for one week each year, Space Camp is transformed into a place where blind and visually impaired kids can come together and participate in a mock space mission. They come from all over the world and all over the US. They form life long friendships as they interact toward the common goal of the mission with other children who have similiar challenges in their lives. Our panel celebrates SCIVIS and it's positive effect on blind and visually impaired students."
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★What IS THE INTERNATIONAL FIBER COLLABORATIVE?
As the leading voice for collaborative public art projects around the world, the International Fiber Collaborative is dedicated to promoting understanding and appreciation of contemporary art & craft through educational experiences. We are committed to developing vital education programs that elevate, expand, modernize and enhance the image of collaboration and education today.
★WHAT IS THE DREAM ROCKET PROJECT?
The Dream Rocket Team is collecting nearly 8,000 artworks from participants around the globe. The artwork will be assembled together to create a massive cover in which will wrap a 37 story Saturn V Moon Rocket at the U.S. Space & Rocket Center in Huntsville, Alabama. We will also be displaying submitted artwork in dozens of national venues prior to the wrapping of the Saturn V. Additionally, we are posting images of submitted artwork & their stories on our Website, Flickr, and Facebook.The Dream Rocket project uses the Saturn V Moon Rocket as a symbolism of universal values of the human spirit. Optimism, hope,
caring for our natural resources, scientific exploration, and harnessing technological advancements for a better quality of life while safeguarding our communities, are all common desires across national and international boundaries. Participants are able to express and learn about these values through this creative collaboration. With the completion of each artwork, participants are asked to write an essay explaining their artwork, and the dream theme in which they chose.
★How can I Participate & Have my Artwork Displayed?
The Dream Rocket project would like to challenge you to ‘Dare to Dream’. To dream about your future and the future of our world through dream themes such as health, community, conservation, science, technology, space, peace, and so on. We would like you to use your selected Dream Theme to express, explore, and create your vision on your section of the wrap. We hope that you are able to express and learn through this creative collaboration. With the completion of each artwork, you are asked to write a brief essay explaining your artwork, and the dream theme in which you chose.
“The Saturn V is the ideal icon to represent a big dream. This rocket was designed and built as a collaboration of nearly half-a-million people and allowed our human species to venture beyond our world and stand on ANOTHER - SURELY one of the biggest dreams of all time. ENABLING THE DREAMS of young people to touch this mighty rocket sends a powerful message in conjunction with creating an educational curriculum to engage students to embrace the power of learning through many important subjects”
-Neil deGrasse Tyson, Director of the Hayden Planetarium, New York
★I VALUE THE ARTS!!!!
The International Fiber Collaborative is able to share the power of a collaboration and art, thanks to the support of generous individual donors. We welcome any amount of donations and remember the International Fiber Collaborative is exempt under Section 501(c)(3) of the Internal Revenue Code, making this gift tax deductible.
Donate Today at: www.thedreamrocket.com/support-the-dream-rocket
See our Online Flickr Photo Album at: www.flickr.com/photos/thedreamrocket/
★★★SIGN UP AT WWW.THEDREAMROCKET.COM
The Nystagmus Network Open Day was held in Reading on the 7th May 2016. Over 170 people attended the event to hear about the work at the charity and latest research into the condition.
State government of Andhra Pradesh does not have any special privilege to students who are visually challenged. Although they do have text books in braille when it comes to taking public common test they are at par with normal kids (no braille). Although they are exempt from certain exercises like diagrams and map pointing they have to answer all other question like anyone else.
The school takes the help of volunteers ( scribe) for the students to appear for the exam.
Story 1/5 Scribing in progress. www.flickr.com/groups/hpc/discuss/72157615184431603/
WIPO Director General Francis Gurry (center) congratulates Turkey's Permanent Representative to the United Nations in Geneva Selim Kulneralp (right), who presided over a key negotiating committee at the WIPO Diplomatic Conference in Marrakesh, on adoption by the committee of the substantive provisions of the treaty. This paves the way for adoption of the treaty on access to published works by the blind, visually impaired and print disabled in plenary session on June 27, 2013 and signing on June 28, 2013.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Primary School: Sahdulahpur Chandni Panchayat- Karanpura, Block- Hajipur, Bihat, India:
6 years old Annu ( Visually impaired) studies in her first standard class in government primary school Sahdulapur Chandini, May 16, 2013. As part of the School Sanitation and Hygiene Education (SSHE) programme being implemented in partnership with Department of Education, Government of Bihar, UNICEF Bihar is supporting the construction of inclusive, child-friendly water and sanitation facilities in schools, with a focus on addressing needs of ‘differently abled children’. UNICEF India/2013/Prashanth Vishwanathan.
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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.
Immerse yourself in sound. Visually striking, the Pantheone I speaker is as ingenious as it is beautiful, filling a space with perfect acoustics whilst simultaneously co-existing with its surroundings.
Visually impaired athlete and her guide. The guide from these olympics onwards will also receive a medal, a guide must not pass the finish line before the athlete. Womens T12 200 metre final. Runner: EL HANNOUNI Assia of France, her guide is SIMOUNET Gautier. The time 24.46 seconds a new WORLD RECORD!
The Olympic Stadium in Olympic Park in Stratford, London, England was the centrepiece of the 2012 London Olympics, the last stop in the 2012 Olympics torch relay, and the venue of the athletic events as well as the opening and closing ceremonies. It was the central venue of the 2012 London Paralympics.
It is located at Marshgate Lane in London's Stratford district in the Lower Lea Valley. The stadium has a capacity of 80,000, making it the third-largest stadium in England behind Wembley Stadium and Twickenham Stadium.
The stadium's track and field arena is excavated out of the soft clay found on the site, around which is permanent seating for 25,000, built using concrete "rakers". The natural slope of the land is incorporated into the design, with warm-up and changing areas dug into a semi-basement position at the lower end. Spectators enter the stadium via a podium level, which is level with the top of the permanent seating bowl. A demountable lightweight steel and concrete upper tier is built up from this "bowl" to accommodate a further 55,000 spectators.
The stadium is made up of different tiers; during the games the stadium was able to hold 80,000 spectators. The base tier, which will be permanent and allow for 25,000 seats, is a sunken elliptical bowl that is made up of low-carbon-dioxide concrete; this contains 40 percent less embodied carbon than conventional concrete. The foundation of the base level is 5,000 piles reaching up to 20 metres deep. From there, there is a mixture of driven cast in situ piles, continuous flight auger piles, and vibro concrete columns. The second tier, which holds 55,000 seats, is 315 metres long, 256 metres wide, and 60 metres high. The stadium is built using nearly four times less steel, approximately 10,700 tons, in the structure than that of the Olympic Stadium in Beijing for the 2008 Olympics. In addition to the minimal use of steel, which makes it 75 percent lighter, the stadium also uses high-yield large diameter pipes which were surplus on completion of North Sea Gas pipeline projects, recycled granite, and many of the building products were transported using trains and barges rather than by lorry.