Some cool picture frames images:
Frame created with ImageFramer for the Mac.
Image by glen.dahlman
Frame created with Apparent Software's ImageFramer 2.4.6 for Mac OS X.
Frame created with ImageFramer for the Mac.
Image by glen.dahlman
Frame created with Apparent Software's ImageFramer 2.4.5 for Mac OS X.
Frame created with ImageFramer for the Mac.
Image by glen.dahlman
Frame created with Apparent Software's ImageFramer 2.4.6 for Mac OS X.
Check out these photo editor images:
_1142316
Image by TheeErin
That's whack, yo
_1142328
Image by TheeErin
That's whack, yo
Check out these love image images:
Magic Flower Guitar (drawing/design)
Image by photosteve101
Feel free to use the image however you like! All I ask is a credit link to:
www.planetofsuccess.com/blog/. Thank you!
A guitar made of flowers. I hope you like the design. I guess if this instrument was real and could make music, it would be most peaceful and calm sound ever heard, so to say.
The brushes used in this image were created by:
Inner Universe Brushes by axeraider70
Urban Floral Brushes by Rawox
Foliage Swirls by Obsidian Dawn (redheadstock)
Thank you very much for creating these fantastic brushes and for making them available!
Abandoned
Image by NeeZhom Photomalaya
unikversiti.blogspot.com
A Textured photo. All photos shot by me and processed in PS. All are from nature ;) This is a composition, the concept is like people took variety of trees and composed them in a garden ;)
Textures from www.cgtextures.com/ . Or you can shoot by yourself on any surface that has texture that you like. I just wanna save time here :)
Comments and critics about the photo are welcomed (not about the photographer) , thanx so much and have great days ahead :)
More photos on my website = www.photomalaya.com
My Facebook = www.facebook.com/Neezhom
Thanx for all comments and faves, all the best. Have a nice days ahead! We're all belong to each other and came from same father and mother (Adam and Eve), so peace and justice for all :)
"O God You do not create this to waste , The Exalted One please protect us from hellfire" SubhanAllah .......
nature-lake-river-and-waterfalls-plitvice-croatia-09
Image by B.Monginoux / Landscape-Photo.net
Find more images on my nature & landscape portfolio.
Check out these photo editing images:
flood 3d
Image by fRandi-Shooters
user: fRedi
equipment: canon eos 1000d | tripod
lens: tokina atx 12-24mm f/4 dx
flash: -
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greasemonkey 4 firefox | addons.mozilla.org/de/firefox/addon/748
flickr multi groupsender | userscripts.org/scripts/show/1543
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Questioning Reality 1
Image by michmutters
iP4S + Slowshutter > Snapseed, Image Blender, Noir Photo, Camera Awesome, Photofx Ultra
A few nice dragon image images I found:
Philatelic Product Image
Image by javierdevilman
Stamps and Collectibles
golden dragon
Image by Chocolate Geek
(P8293879)
Dragon Photo Contest - 1st Place: Zephyr Pennell
Image by Fleep Tuque
Gallery Beleza 1st Annual Dragon Photo Competition: 1st Place _and_ People's Choice Award goes to Zephyr Pennell for his beautifully photographed "Night Flight" entry. Capturing the essence of all things "dragon", this image is truly well done. Congratulations Zephyr! Curator: Wealthy Mizser From Fleep Tuque via blogHUD.com
Some cool photo editing online images:
RAW: Milwaukee Presents Expressions 5/23/13
Image by rawartistsmedia
ALL photography captured & edited by Ryan Laessig / Milwaukee Alt.
www.facebook.com/pages/Milwaukee-Alt/157022164367416
Location: The Rave / Eagles Club Basement
Please Credit If photos used online
Some cool image url images:
Bldg. [i.e., Building] Tunkhannock Viaduct (LOC)
Image by The Library of Congress
Bain News Service,, publisher.
Bldg. [i.e., Building] Tunkhannock Viaduct
[between ca. 1910 and ca. 1915]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from data provided by the Bain News Service on the negative.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.16607
Call Number: LC-B2- 3153-8
Lula Rogers (LOC)
Image by The Library of Congress
Bain News Service,, publisher.
Lula Rogers
[between ca. 1910 and ca. 1915]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.12391
Call Number: LC-B2- 2620-2
Vinie Daly (LOC)
Image by The Library of Congress
Bain News Service,, publisher.
Vinie Daly
[between ca. 1910 and ca. 1915]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.12724
Call Number: LC-B2- 2657-11
Check out these photo effects online images:
Oct. 3, 1952: atomic cloud above Trimouille Island in the Monte Bello group off WA - courtesy CPO Jack Duperouzel, RAN 1949-60.
Image by Kookaburra2011
5959. This is what the voyage was all about - Britain joins the Nuclear Club with her first atomic explosion. It was called Operation Hurricane. In this image it is 0935 hours, five minutes after the nuclear device has been detonated on board a former WWII Royal Navy River Class frigate, HMS PLYM, vapourising the ship and leaving a huge 6m deep and 300m wide indentation in the ocean floor of the Bunsen Channel at Trimouille Island in the Monte Bello group, 81 kms, or 44 miles off the coast of Western Australia.
The atomic cloud, not now the conventional mushroom, is taking on a spectral shape. It had reached 12,000ft within three minutes of thge expolosion and was then aboiut one mile across. HMS PLYM had been used to test the effect of a ship-smuggled bomb, reflecting Cold War fears that this could be done in a British port. The 25kt bomb was similar in scale to the Aug. 9, 1945 Nagasaki explosion.
We had a photo of PLYM awaiting her fate in a series of several images on the explosion beginning at Pic NO. 5259. It includes an Oct 4 West Australian newspaper report and photograph that Jack Duperouzel also sent us, but which is already seen on the Photostream, here:
www.flickr.com/photos/41311545@N05/6491456293/in/photostr...
The newspaper report shown there states that the task of tracking the radio-active nuclear cloud was allotted to RAAF Lincoln bombers flown to Broome from Amberley air force base in Queensland, and the paper says it is believed they were assisted at lower levels by Sea Fury and Firefly aircraft from HMAS SYDNEY [II].
[*We find a sentence in the RAN Sea Power Centre's online history of 817 Squadron which says that 817 Squadron Fireflies and 805 Squadron Sea Furies were used to secure at 72 km radius - almost 45 miles, perhaps to the coast - around the atomic test site].
There is much that was not known about the test, and the newspaper of the day inaccurately speculated that the device had been detonated from a tower. HMAS SYDNEY [III] left the Monte Bello islands on Oct 4, the day after the explosion, but remained at Shark Bay in the general vicinity until Oct. 12.
Photo: courtesy CPO Jack Duperouzal, RAN 1949-60.
strolling
Image by joiseyshowaa
Bengali strolling on a beach by the Bay of Bengal....
www.joiseyshowaa.com
Used in these web sites:
www.biblemoneymatters.com/2008/07/single-step-personal-fi...
silvinohenriques.blogspot.com/
Inspired by flickr.com/photos/iamnotanumber8885/
pickthebrain.com/blog/how-to-figure-out-what-you-want-in-...
biblemoneymatters.com/index.php?s=procrastinating&usg...
www.elanso.com/ArticleModule/JNJNSYVITDIsR6KULcVwKAIi.html
www.biblemoneymatters.com/2008/07/single-step-personal-fi...
wswms.blogspot.com/2009/02/blog-post_28.html
www.creativityprompt.com/inspiration-prompt-keep-on-tryin...
www.epictrip.com/Bangladesh-tourism-l187.html
www.wereldpagina.nl/index.php/Sundarbans
www.freepursuits.com/2009/07/01/are-you-putting-off-life-...
wagefreedom.com/depart-sooner-improvise-more/
www.creativityprompt.com/category/inspiration-prompt/
wagefreedom.com/depart-sooner-improvise-more/
blog.current-observations.com/2010/01/flickr-three-violet...
digital-photography-school.com/less-is-more-weekend-photo...
www.rescuemarketing.com/blog/2010/03/28/business-is-perso...
www.palavrasdeosho.com/
www.palavrasdeosho.com/2010/07/lao-tzu.html
quizlet.com/2837563/wod-flash-cards/
www.onextrapixel.com/2010/10/28/5-ways-you-can-improve-yo...
viralmom.com/12-must-read-online-resources-to-become-a-be...
www.pickthebrain.com/blog/how-to-figure-out-what-you-want...
www.photofidelity.com/blog/olympus-e-pl2-negative-space-h...
www.webdesignfact.com/2011/03/effect-of-negative-space-in...
article.yeeyan.org/view/163202/170880
talkingrich.net/page/information-trademarks
www.digital-photography-school.com/negative-space-weekly-...
www.pickthebrain.com/blog/how-to-figure-out-what-you-want...
www.thedailyzen.org/2012/02/4-ways-to-kick-anxiety-in-ass...
www.oldstinger.com/2012/02/4-ways-to-kick-anxiety-in-butt...
ashirvachan.org/
Duet
Image by Bill Selak
Here's my new favorite piece of sound equipment: Apogee Duet. You can plug anything musical straight into it (electric guitar, vocal mic, etc), and it works seamlessly with Garageband and Logic. And it sounds amazing. I plugged my guitar straight in (I didn't even plug in my fancy, awesome sounding amp (or effects)), and my guitar sounded soooo good in Garageband.
So here's part 2 of this photo description-thing. I discovered the Apogee Duet while reading an article about Coldplay's producer. This guy recorded with the Duet, and was stoked with the result. I found 300 amazing reviews online... and they are all true. This hardware rocks. I think my next album will be recorded on this.
Day 319
Check out these online photo images:
Workshops at Science Online 2011 - Obfuscation
Image by Lou FCD
Nothing fancy here, just science geeks getting their geek on at Science Online 2011. Follow the Twitter hashtag #scio11 for lots of fun.
(I'd also recommend #DSN and #DSNSUITE for those not too faint of heart.)
I did my best to eliminate unflattering and incriminating photos. Please don't ID anyone but yourself in these photos to protect the anonymity of the guilty.
A few nice upload photo images I found:
Afghanistan ... Military Price of Progress (June 05, 2011) ...item 3.. MOODY BLUES - DAYS OF FUTURE PASSED (FULL ALBUM) 1967 (HD) ...
Image by marsmet501
In this April 30, 2011 photo, soldiers from the 1st Brigade Combat Team, 101st Airborne Division, look at a memorial plaque at Forward Operating Base Fenty in Jalalabad, Afghanistan, for soldiers killed in the country. The division lost 131 soldiers during the yearlong deployment. (AP Photo/Kristin M. Hall)
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.....item 1a).... Yahoo! News ... Army's 101st pays high price for Afghan surge year
By KRISTIN M. HALL, Associated Press – Sun Jun 5, 11:18 am ET
news.yahoo.com/s/ap/20110605/ap_on_re_us/us_military_pric...
JALALABAD, Afghanistan – The soldiers of the Army's famed 101st Airborne Division deployed to Afghanistan confident their counterinsurgency expertise would once again turn a surge strategy into a success but are headed home uncertain of lasting changes on the battlefield.
As the division's 24,000 soldiers return to Fort Campbell from their one-year deployment, doubts remain in the military that security in Afghanistan can last without a significant U.S. military presence for years. The division brought effective counterinsurgency lessons from Iraq, but is still waiting to see whether those strategies can take hold in Afghanistan.
What progress was made in improving security and governance came at a high price: The division known as the Screaming Eagles lost 131 soldiers, the most killed in a single deployment for the unit since Vietnam, with many more wounded or injured. The 101st has been a force in America's major conflicts since World War II, when it was first formed for the 1944 Allied invasion of Normandy.
In the eyes of many of the troops returning to Fort Campbell on the Kentucky-Tennessee line, they spent the year chasing ghosts across mountain ridges and feeling frustrated by the slow pace of the nearly ten-year war.
"It is very hard to see change," said Capt. Tye Reedy. "It was very hard to get that across to my soldiers."
The 101st had plenty of veterans from the Iraq troop surge in 2007, where they learned to protect the population and isolate them from the enemy, a counterinsurgency approach drafted by Gen. David Petraeus, who once led the division during the invasion of Iraq.
While the Iraq surge was credited with scoring progress in that war, many of the division's leaders said their challenge in Afghanistan was to keep soldiers focused in the face of setbacks.
"They have to accept that it was worth it," said Col. Andrew Poppas, commander of the 1st Brigade Combat Team, which lost 39 soldiers. "It was a fight that needed to happen and no soldier died in vain."
When explaining what the division accomplished in the year at war, the division's commander, Maj. Gen. John F. Campbell, can rattle off statistics from memory — thousands of weapons caches found, thousands of insurgent fighters killed and dozens of districts with improved security. But the one figure he often ends with is the number of soldiers under his command who were killed.
Campbell kept notecards with the names and photos of each soldier, held together by a rubber band in his uniform's pocket. By the end of the deployment, the stack was as thick as a paperback book.
On six different occasions over the year, the division lost five or more soldiers in a single event, including a helicopter crash, suicide attacks and heavy fighting.
Campbell described those losses in military lingo. "We had some very, very kinetic events," he said after arriving home at Fort Campbell. But he said the hardships bonded the troops in an indelible way.
"Each time you go visit those soldiers after one of those things, they are there fighting for their buddy on their left or right," Campbell said.
Some of the heaviest fighting came near the end of their deployment in early spring as they attempted to wrest control from insurgents who were coming over the Pakistan border in eastern Afghanistan.
"My company, or my two platoons, we landed on 150 hardened Taliban fighters and lost three men, injured another three," said Reedy, 28, commander of Charlie Company, 2-327 Infantry, 1st Brigade Combat Team. "That's one operation on the border."
In addition to fighting, troops also worked to train their Afghan military counterparts. But the relationship was strained at times, especially after incidents like one in November when a lone gunman from the Afghan Border Police shot and killed six soldiers from the division.
Cpl. Andrew Barnett, 28, from B Company, 2-327 Infantry Regiment, said trusting Afghans was difficult, especially when his unit got an intelligence report that indicated Afghan soldiers were communicating with insurgent fighters about their positions at a combat outpost in Kunar province.
"It's kind of frustrating because we're supposed to be nice and friendly and try to help them out, and we've got these guys who have infiltrated or are paying their buddies to give information," Barnett said
But 101st soldiers also took pride in helping develop the Afghan military and police into professional forces as the number of AWOL soldiers decreased and Afghan leaders took more independent control over security. That will likely be the division's lasting legacy after this year in Afghanistan.
As Reedy looks back on the tour, he tries to remind his soldiers that counterinsurgency isn't a quick fix.
"Everything we do every day is building toward the end state," Reedy said. "Leaving it a little better for the next unit and then they build on it."
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Kristin Hall can be reached at twitter.com/kmhall
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.....item 1b).... Afghanistan ... Sun Jun 5, 11:02 AM ET ... img code photo
d.yimg.com/a/p/ap/20110605/capt.cd029e24982a41b59628c2a6e...
Soldiers, 101st Airborne Division
In this April 30, 2011 photo, soldiers from the 1st Brigade Combat Team, 101st Airborne Division, bow their heads in prayer during a ceremony in Jalalabad, Afghanistan, to honor soldiers killed in the country. The division lost 131 soldiers during the yearlong deployment. « Read less (AP Photo/Kristin M. Hall)
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.....item 1c).... Afghanistan ... Sun Jun 5, 11:03 AM ET ... img code photo
d.yimg.com/a/p/ap/20110605/capt.a7812c4d8611495b81e274a0b...
Soldiers, 101st Airborne Division
In this May 9, 2011 photo, soldiers from the 1st Brigade Combat Team, 101st Airborne Division, return home to Fort Campbell, Ky., after a yearlong deployment to Afghanistan. The division took effective counterinsurgency lessons from Iraq, but is still waiting to see whether those strategies can take hold in Afghanistan. « Read less (AP Photo/Kristin M. Hall)
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.....item 2a).... CNNWorld ... AfghanistanCrossroads ... About this blog
Afghanistan Crossroads is where CNN's reporting converges -- bringing you a diversity of voices, stunning images and video, global perspectives and the latest news from on the ground in Afghanistan and around the world.
afghanistan.blogs.cnn.com/
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.....item 2b).... CNN ... Remembering the fallen
From all parts of the world and spanning all ages, more than 2,100 U.S. and coalition troops have died in Afghanistan.
www.cnn.com/SPECIALS/war.casualties/index.html
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.....item 2c).... Chart: U.S. troop levels over the years ... Afghanistan
afghanistan.blogs.cnn.com/2011/06/22/chart-u-s-troop-leve...
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......item 2d).... Crowds honor fallen soldier ... May 30th, 2011
10:43 AM ET
afghanistan.blogs.cnn.com/2011/05/30/crowds-honor-fallen-...
Crowds lined the roads as the body of Private Lamarol Tucker, killed in Afghanistan, was returned home.
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.....item 3).... youtube video ... MOODY BLUES - DAYS OF FUTURE PASSED (FULL ALBUM) 1967 (HD) ...
41:38 minutes ...
www.youtube.com/watch?v=DQH5duKxPDU&feature=related
Uploaded by Claptonblues55 on Feb 3, 2012
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No profit is made on this audio/video, strictly for comment only.
MOODY BLUES - DAYS OF FUTURE PASSED Album (1967)
1) The Day Begins
2) Dawn: Dawn Is A Feeling (5:50)
3) The Morning: Another Morning (9:00)
4) Lunch Break: Peak Hour (12:55)
5) The Afternoon: Tuesday Afternoon (19:05)
6) Evening: The Sunset (27:18)
7) The Night: Nights and White Satin(34:42)
Breath deep
The gathering gloom
Watch lights fade
From every room
Bedsitter people
Look back and lament
Another day's useless
Energy spent
Impassioned lovers
Wrestle as one
Lonely man cries for love
And has none
New mother picks up
And suckles her son
Senior citizens
Wish they were young
Cold hearted orb
That rules the night
Removes the colours
From our sight
Red is gray and
Yellow white
But we decide
Which is right
And
Which is an Illusion
Category:
Music
License:
Standard YouTube License
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Some cool hp photo images:
iPod + hp
Image by Psykomaniaque
interior-bill-hewlett-bunk-house-hp
Image by The Flirty Girl
A fun afternoon if you're visiting Silicon Valley and love technology. Photo ops of some of the most famous and least known geeky landmarks. A map with addresses is included in the blog post.
theflirtyguide.blogspot.com/2012/02/ultimate-silicon-vall...
1906 Sage Coupé-Chauffeur 24 HP (01)
Image by Georg Schwalbach (GS1311)
Cité de l’Automobile – Musée National – Collection Schlumpf in Mulhouse
A few nice photo sites images I found:
Station 8 of the Cross
Image by betta design
Station 8 of the Via Dolorosa
Estação 8 da Via Sacra
More info / Mais informação:
en.wikipedia.org/wiki/Via_Dolorosa
www.sacred-destinations.com/israel/jerusalem-via-dolorosa...
www.biblewalks.com/Sites/ViaDolorosa.html
To browse through my Jerusalem photos using flickriver/ Para ver minhas fotos de Jerusalém com o flickriver
Or here to see photos with descriptions / ou aqui para ler as descrições das fotos
Jamestown Settlement: Visitor's Center
Image by bill barber
I've decided to upload all my Colonial Williamsburg, Jamestown and Yorktown photos in three large batches. In order to do this, I'm spending a few days on the post-processing (generally cropping, straightening and sharpening). Since I won't be up to comment to any great extent until Tuesday, please don't feel obligated to comment on my stream. It wouldn't be fair to expect your comments.
I'm uploading batches for a couple of reasons. First, Explores are nice, but my main reason for being on flickr is to set up an archives for my extensive families, my personal friends and anyone else who wants to use my submissions. I've got a lot of old family stuff on my photostream, and there's going to be a lot more old stuff going up over the next few months. Secondly, I want to keep putting up current stuff. Only then can I see how I'm progressing. In order to put up new stuff, I've got to clear out the old stuff.
Flickr is a great tool that can be used for a lot more than getting Explores, although I have to admit that I'll be the last guy to turn them down.
Jamestown (originally also called "James Towne" or "Jamestowne") is located on the James River in what is currently James City County in the Commonwealth of Virginia. The site is about 40 miles (62 km) inland from the Atlantic Ocean and the entrance to the Chesapeake Bay and about 45 miles (70 km) downstream and southeast of the current state capital city of Richmond. Both the river and the settlement were named for King James I of England, who was on the throne at the time, granted the private proprietorship to the Virginia Company of London's enterprise.
The location at Jamestown Island was selected primarily because it offered a favorable strategic defensive position against other European forces which might approach by water. However, the colonists soon discovered that the swampy and isolated site was plagued by mosquitoes and tidal river water unsuitable for drinking, and offered limited opportunities for hunting and little space for farming. The area was also inhabited by Native Americans (American Indians).
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
Despite inspired leadership of John Smith, chaplain Robert Hunt and others, starvation, hostile relations with the Indians, and lack of profitable exports all threatened the survival of the Colony in the early years as the settlers and the Virginia Company of London each struggled. However, colonist John Rolfe introduced a strain of tobacco which was successfully exported in 1612, and the financial outlook for the colony became more favorable. Two years later, Rolfe married the young Indian woman Pocahontas, daughter of Wahunsunacock, Chief of the Powhatan Confederacy, and a period of relative peace with the Natives followed. In 1616, the Rolfes made a public relations trip to England, where Pocahontas was received as visiting royalty. Changes by the Virginia Company which became effective in 1619 attracted additional investments, also sowing the first seeds of democracy in the process with a locally-elected body which became the House of Burgesses, the first such representative legislative body in the New World.
Throughout the 17th century, Jamestown was the capital of the Virginia Colony. Several times during emergencies, the seat of government for the colony was shifted temporarily to nearby Middle Plantation, a fortified location on the high ridge approximately equidistant from the James and York Rivers on the Virginia Peninsula. Shortly after the Colony was finally granted a long-desired charter and established the new College of William and Mary at Middle Plantation, the capital of the Colony was permanently relocated nearby. In 1699, the new capital town was renamed Williamsburg, in honor of the current British king, William III.
After the capital was relocated, Jamestown began a gradual loss of prominence and eventually reverted to a few large farms. It again became a significant point for control of the James River during the American Civil War (1861–1865), and then slid back into seeming oblivion. Even the Jamestown Exposition of 1907 was held elsewhere, at a more accessible location at Sewell's Point, on Hampton Roads near Norfolk.
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Beginning in 1893, 22.5 acres of the Jamestown site were acquired by the Association for the Preservation of Virginia Antiquities. A crucial sea wall was built in 1900 to protect the shoreline near the site of James Fort from further erosion. In the 1930s, the Colonial National Historical Park was established to protect and administer Jamestown, which was designated a National Historic Site. The U.S. National Park Service acquired the remaining 1,500 acres (6.1 km²) of Jamestown Island through eminent domain in 1934.
For the 350th anniversary in 1957, Jamestown itself was the site of renewed interest and a huge celebration. The National Park Service provided new access with the completion of the Colonial Parkway which led to Williamsburg, home of the restored capital of Colonial Williamsburg, and then on to Yorktown, the other two portions of Colonial Virginia's Historic Triangle. Major projects such as the Jamestown Festival Park were developed by non-profit, state and federal agencies. Queen Elizabeth II of Great Britain and Prince Philip attended. The 1957 event was a great success. Tourism became continuous with attractions regularly updated and enhanced.
The two major attractions at Jamestown are separate, but complementary to each other. The state-sponsored Jamestown Settlement near the entrance to Jamestown Island includes a recreated English Fort and Native American Village, extensive indoor and outdoor displays, and features the three popular replica ships. On Jamestown Island itself, the National Park Service operates Historic Jamestowne. Over a million artifacts have been recovered by the Jamestown Rediscovery project with ongoing archaeological work, including a number of exciting recent discoveries.
Early in the 21st century, in preparation for the Jamestown 2007 event commemorating America's 400th Anniversary, new accommodations, transportation facilities and attractions were planned. The celebration began in the Spring of 2006 with the sailing of a new replica Godspeed to six major East Coast U.S. cities, where several hundred thousand people viewed it. Queen Elizabeth II and Prince Phillip joined America's festivities on an official state visit to Jamestown in May 2007.
en.wikipedia.org/wiki/Jamestown,_Virginia
Check out these image gallery images:
Busy lunchtime
Image by angelocesare
© Don't use this image on websites, blogs or media without my explicit permission.
Check out these photo show images:
Elegancia (Explore #276 May 8, 2012)
Image by Puzzler4879
An elegant red Miltoniopsis Orchid, seen in early March at the Tenth Annual Orchid Show at the New York Botanical Garden.
You can visit this great institution of learning at www.nybg.org.
"Tantric Shiva Lingams"
Image by cobalt123
This is the last of 9 images (and my favorite one) of a wonderful stone from India that I first saw a few years ago and had not purchased any until this year. Seen at the Tucson Rock and Gem Show, venue at the Ramada Ltd.
Some of these images are quite beautiful to me and faithfully capture how I saw them displayed this year. Each photo has another link and detail added to the description. All are part of the set I have started for this year's show.
wikipedia article about Shiva, Hindu worship and lingams:
en.wikipedia.org/wiki/Lingam
From the dealer literature:
"Tantric Shiva Lingams", scared to the Hindu tradition, are ceremoniously gathered once a year from the muddy banks of the Narmada River, one of the 7 sacred places of pilgrimage in India. Of those found, very few have the characteristics patterning that make the Tantric Lingam so unique. They are naturally formed of a mineral called cryptocrystalline quartz, with iron oxide deposits said to have been implanted in the riverbed by a meteorite millions of years ago. Hindus worship lingams in Shiva temples as a representation of the Lord. In the Tantric tradition, the shape embodies masculine energy: dynamic expression and knowledge. The markings called "Yoni" depicts feminine energy: wisdom and intuition. Together, the female energy arouses the masculine urge to create. The mineral composition and the shape makes the stones unique as objects for meditation. They are said to contain the loftiest vibration of all stones on earth".
This article describes how the stones are pulled from the riverbed of the Narmada River and prepared:
www.hinduismtoday.com/archives/1989/08/1989-08-04.shtml
Some cool online photos images:
Discussion with Chris Hughes on how the Obama campaign has used technology during DNC in Denver
Image by Steve Rhodes
A documentary on Facebook airing on CNBC Jan 6, 2011 is using one of my photographs of Chris Hughes (who is interviewed) when he was working on Obama's campaign.
Facebook Obsession
facebookobsession.cnbc.com
It is either the photo above or this one
www.flickr.com/photos/ari/2812099328/
He recently launched Jumo, " a social network connecting individuals and organizations who want to change the world."
www.jumo.com
chrishughes.tumblr.com
Another photo I took during the discussion was in Rick Smolan 's book, The Obama Time Capsule
www.flickr.com/photos/ari/2811241921/
Original caption
This is the Big Tent Denver description though it was much more an open discussion than a talk. I took video of most of it and will try to get some online soon, but here is a short video he did after the session with Jill Tubman/Cheryl Contee of Jack and Jill Politics
www.jackandjillpolitics.com/2008/08/dnc08-chris-hughes-of...
Changing the Landscape: the Impact of Social Technology on the 2008 Presidential Election
Location: Fifth Floor:Open Space
Time: 3:00 PM - 3:50 PM (MST)
Facilitator: Chris Hughes, Obama for President
This talk will focus on the impact of social technology on websites -- how we are breaking out of the mold of the traditional campaign website and extending the possibilities for what supporters can do. In the past, campaigns have only been able to provide information about a candidate and then ask supporters to simply sign up to volunteer or donate.
In the new model, supporters can immediately connect with others and work to coordinate their actions in their local communities and beyond. The scope of what a supporter can do online has significantly widened, which is very good news for campaigns that are serious about empowering supporters to self-organize. We'll talk specifically about what tools the Obama campaign has developed to make this work possible.
His mybarackobam profile
my.barackobama.com/page/dashboard/public/gG5XTC
He talked about
voteforchange.com
Neighbor to Neighbor
my.barackobama.com/page/community/post/johngriswold/gGx4sc
the Grassroots Finance Committee
my.barackobama.com/page/community/post/chrishughesattheca...
The Facebooker Who Friended Obama
www.nytimes.com/2008/07/07/technology/07hughes.html
The next session was on Trick or Vote and a few of them came in as Hughes talked to people after the session
trickorvote.org
New Look Facebook
Image by mkhmarketing
Please feel free to use this image under the creative commons license.
I created the graphic to drive traffic to my marketing blog as part of a buzz-building assignment for a graduate degree.
Please attribute, link, like and comment - mkhmarketing.wordpress.com
Help me explore the concept of online quid pro quo. You get great visual content and I get extra credit in my emerging media class. Or at least that's the cunning plan...
Also, if you have an idea for a custom graphic you need for your own blog or website, please share with me at mkhmktg@yahoo.com. I'll give it my best shot to create something for you.
Some cool photo editor images:
ezimba-web- Artistic Effects cartoon wash green
Image by krossbow
ezimba is a web site that can apply different imaging effects.
www.ezimba.com/index.html
I used one picture for all the effects just for consistency for comparison. The title for each photo consists of the category of the effect and the name of the effect. Some effects would be better used on a different image. There are some effects also that appear to do the same thing in different effect categories.
Ezimba also has a Facebook app, Google Android app, and a free iPhone app. Please note that the free iPhone app puts a small logo on the edited image. You can buy the paid ezimba app and not have the logo.
Check out these photo magazine images:
Fearless: 10 of 31
Image by Jef Harris
The Fearless shoot was my chance to really plan a shoot unique to my creative relationship with Alexandra Rodionova. The goal was to compare fashion of today with fashion and photography of around the time I was born, (1967). I used two full issues of Andy Warhol's original Interview Magazine for the background. It was a tough choice cutting up those magazines. These are really rare and really expensive. But if I wasn't going to put everything I had into this it just wouldn't be worth doing. This was one of those shoots were everything came together. The hair, (Mark), the makeup, (Caroline), the outfit, the background, the lighting, everything.
Model: Alexandra Rodionova
www.alexandrarodionova.net
Modavia Fashion Directory Edition 21, MFW 2011 Special
Image by Graphic Dix SL Photo Studio
bit.ly/modaviafashiondirectory21
We are proud to present the special Modavia Fashion Week 2011 edition of the Directory. We have more than 400 pages packed with the best of the new season looks from the leading designers, photographers and models in Second Life. There is also fabulous artwork from Del May and Tamzin Xigalia and news about upcoming contests and events, including our November Supermodels casting. You can find the online version on the Modavia Fashion Directory Issuu but do also keep a look out for our in-world magazine which is wrapped up this month with a unique skin gift from Glam Affair specially created for our readers.
nwn.blogs.com
Some cool photo books images:
Not only work and music
Image by angelocesare
Reading in the last sun. ---- Inviato utilizzando un telefono cellulare Sony Ericsson
Check out these photo printers images:
hackNY spring 2013 student hackathon
Image by hackNY
Photo by Matylda Czarnecka
The spring 2013 hackNY student hackathon brought in hundreds of students to Columbia University's Fu Foundation School of Engineering and Applied Science April 6-7 for 24 hours of creative collaborative hacking on New York City startups' APIs.
NYC Startups, selected by a student organizing committee, presented their technologies at the beginning of the event, after which students formed groups to work through the night implementing their own ideas for fresh hacks built on top of these APIs.
On Sunday afternoon students presented their projects to an audience including a judging panel featuring members of the NYC startup community, which selected the final winning teams.
Since April 2010, hackNY hosts student hackathons one each semester, as well as the hackNY Fellows program, a structured internship which pairs quantitative and computational students with startups which can demonstrate a strong mentoring environment: a problem for a student to work on, a person to mentor them, and a place for them to work. Startups selected to host a student compensate student Fellows. Students enjoy free housing together and a pedagogical lecture series to introduce them to the ins and outs of joining and founding a startup in NYC.
To find out what you missed at the spring 2013 hackNY student hackathon please do see our HackerLeague event page and blog post announcing the winners.
Special thanks to our spring 2013 hackNY student hackathon judges! And congratulations to the winners of the spring 2013 hackNY student hackathon!
For more information on hackNY's initiatives, please visit www.hackny.org and follow us on twitter @hackNY
Some cool image sites images:
Heartlands. Nikon D3100. DSC_0562.
Image by bobchin1941
Heartlands shopping area, taken on 24/06/2012 at14:06:25Hrs using a Nikon D3100 camera with an AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR lens+ a 52mm UV filter.
Heartlands is on the site of what was the former mining complex at Robinson’s Shaft in the village of Pool, part of the mining heart of Cornwall. The Camborne and Redruth area that surrounds Heartlands was designated World Heritage Site status in 2006 by UNESCO as part of the Cornwall and West Devon Mining Landscape. Click on image to view on black. Right click on image and click on ORIGINAL for better detail.
A few nice photo effects images I found:
Protest Tunisia
Image by Gwenaël Piaser
Paris, January 2011.
www.humanite.fr/monde/la-revolution-tunisienne-est-elle-e...
www.iremmo.org/spip/spip.php?article303
politicsofreligion.hypotheses.org/300
nawaat.org/portail/2012/12/15/de-lutilite-de-la-crise-et-...
nawaat.org/portail/2013/02/02/tunisie-un-debat-sur-la-gau...
www.comlive.net/La-Revolution-Tunisienne-En-Images,218322...
www.tunisdardart.com/sous-les-paves-la-poesie/
www.webdo.tn/2012/09/03/tunisie-du-reve-a-lutopie/
www.tunivisions.net/30072/233/149/blesses-de-la-revolutio...
www.melekher.com/detail/l%E2%80%99etat-decide-enfin-de-pr...
www.wled-el-banlieue.com/2011/04/la-revolution-tunisienne...
www.africa1.com/spip.php?article11463
6 : The Pawn Shop
Image by Amy McTigue
Inside lives a cantankerous old iguana who deals in spirits. This is the ultimate pawn shop, everything you've ever dreamed in return for something you never knew you had.
6/365
Happy Fourth of July
Image by dog.happy.art
Chuck isn't fond of carnivals unless they are in Rio or involve hot dogs and cherry slushies. He wanted to send you something special to smile about. July 2013.
Some cool change background image images:
IMG_4044Arsenalshorts
Image by uniondocs
The program collects films that are asking the same questions: What was here before? And how can you show it if it’s not there anymore? When and how did absence turn into presence? Does it always do that?
It also connects places in East and West, New York, Berlin and Warsaw. Shanghai and Venice. Not only through images, but also through the people who made the films (and are in them): For them, 1984 had been fiction and 1989 a reality. They are from a generation that has been producing images and sounds before and after the Berlin Wall, in East and West, until today.
Program runtime is 62 minutes.
a-b-city by Dieter Hormel and Brigitte Bühler
BRD 1985, 8 minutes, digital projection
Accompanied by a score using music of Pere Ubu and Einstürzende Neubauten, a-b-city revolves around West-Berlin’s psychodelic atmosphere. Brigitte Bühler and Dieter Hormel, who were renown for their fast paced and skillfully edited Super-8 clips, mix TV images and time-lapse shots of nightly streets, drifting clouds, and a men continuously jumping in front of the Berlin Wall, bringing about an impression of the enclosed city that constantly shifts between ecstasis and depression. (Text: Florian Wüst)
Haunt No. 1-3 by Niklas Goldbach
2007, 2 minutes, digital projection
Haunt No. 1, Video Loop, 35 sec., Stereo
Assistance: Daniel Reuter
Haunt No. 2, Video Loop, 28 sec., Stereo
Assistance: Viktor Neumann
Haunt No. 3, Video Loop, 36 sec., Stereo
Assistance: Viktor Neumann
The video triptych focuses on the historical background and the future of up to now abandoned places in Berlin’s former working-class district Prenzlauer Berg where the gentrification process is almost accomplished.
5 lessons and 9 questions about Chinatown by Shelly Silver
USA, 2009, 10 minutes, digital projection
You live somewhere, walk down the same street 50, 100, 10,000 times, each time taking in fragments, but never fully registering THE PLACE. Years, decades go by and you continue,unseeing, possibly unseen. A building comes down, and before the next one is up you ask yourself ‘what used to be there?’ You are only vaguely aware of the district’s shifting patterns and the sense that, since the 19th century, wave after wave of inhabitants have moved through and transformed these alleyways, tenements, stoops and shops.
10 square blocks, past, present, future, time, light, movement, immigration, exclusion, gentrification, racism, history, China, America, 3 languages, 13 voices, 152 years, 17,820 frames, 9 minutes, 54 seconds, 9 questions, 5 lessons, Chinatown.
View Excerpt
Former East/Former West by Shelly Silver
USA, 1994, excerpt 10-15 minutes digital projection
Made up of hundreds of street interviews done in Berlin two years after the Reunification, FORMER EAST/FORMER WEST is a vital, surprisingly open, and at times disturbing documentary. Silver questions the very notion of a shared language, focusing on changing definitions of words for political and economic systems – democracy, freedom, capitalism, socialism, nationality and history.
Magnetic [eye] Berlin by Gunter Krüger
Germany, 2007 / 08, excerpt 10 minutes, digital projection
Since 1997, Gunter Krüger has been archiving media fragments which he finds on the street – broken audiotapes, scraps of VHS and discarded compact discs. At the location he records additional filmic notes.
In the second part of the “Magnetic [eye]” series, “Magnetic [eye] Berlin”, a selection of media fragments forms a portrait of his living space. The film is designed as a generative structure, i.e. there is no final version.
In 2007 and 2008, three different playlists were made, each varying in both the selection of the media fragments as well as their compilation. By integrating new modules, new playlists with predefined running times can be created for each screening.
Nullpanorama by Martin Ebner
Germany, 2003, 1 minute, digital projection
The ascent and decent of an advertiser’s captive balloon over the roofs of the capital.
Proprio Aperto by Judith Hopf, Natascha Sadr Haghighian, Florian Zeyfang
Germany / USA, 2005, 6 minutes, digital projection
The single channel video and installation work PROPRIO APERTO, which was first presented in February 2005 at the Museum of Contemporary Art, Chicago in the exhibition, “Universal Experience: Art, Life and the Tourist’s Eye,” shows a walk taken through the giardini, the grounds of the Venice Biennale, in winter.
The conversations that took place there among Judith Hopf, Natascha Sadr-Hadhighian and Florian Zeyfang result in a text that circles around landscapes of ruin, ghosts and the Dasein in cultural hegemony. The images — actually photographs — are presented in slow pans, and the various levels of destruction of the pavilion come more and more into the center.
The tone of voice and language congenially conveys the suitably contemplative mood during the walk, which carries over to the spectator.
The Rooms (excerpt) by Tim Blue and Paul Rowley
USA 2010, 5 minutes, digital projection
With rich sound design and diverse formats, THE ROOMS is an experimental study of an abandoned world that somehow continues to operate. This excerpt feautures the HAU 1 / Hebbel am Ufer, a historical theater in Berlin, that turned into a cultural space for contemporary experimental and innovative theater and performance art (HAU 1).
We will be strong in our weakness. Notes from the first congress of the Jewish Renaissance in Poland.Performance by Yael Bartana with Susanne Sachsse and Slawomir Sierakowski
Israel/Netherlands/Poland, 2010, 15 minutes, digital video projection
Jewish Renaissance movement in Poland, Tel-Aviv/Amsterdam/Warsaw
Stefanie Schulte Strathaus is a film and video curator who lives and works in Berlin. She is Co-Director of Arsenal – Institute for Film and Video Art (with Milena Gregor and Birgit Kohler) and Member of the selection committee of the Berlinale Forum and founding director of Forum Expanded, a new section of the Berlin International Film Festival which negotiates the boundaries of cinema. Her curatorial work comprises numerous film programs, retrospectives and exhibitions, among them Michael Snow, Guy Maddin, Heinz Emigholz, Birgit Hein, Ulrike Ottinger, Stephen Dwoskin and many others. She recently co-curated (with Susanne Sachsse and Marc Siegel) LIVE FILM! JACK SMITH! Five Flaming Days in A Rented World (October 2009).
Her texts have been published in Frauen und Film, The Moving Image, Texte zur Kunst, Ästhetik & Kommunikation, Schriftenreihe Kinemathek as well as in various festival and exhibition catalogues. She is the editor of: Kinemathekheft Nr. 93: Germaine Dulac (with Sabine Nessel and Heide Schlüpmann), Berlin 2002; “The Memo Book. Films, Videos and Installations by Matthias Müller”, Berlin: Vorwerk 8, 2005; “The Primal Scene: Christine Noll Brinckmann. Films and Texts”, Berlin: arsenal edition, 2008; “Who says concrete doesn’t burn, have you tried? West Berlin Film in the ’80s” (with Florian Wüst), Berlin: arsenal edition, 2008. www.arsenal-berlin.de
Paul Rowley was born 1971 in Dublin. He has worked for more than ten years as a filmmaker and visual artist.
His critically acclaimed feature documentary Seaview, which he co-directed with Nicky Gogan, premiered at the Berlin Film Festival and has toured festivals internationally since.
Together with David Phillips, Paul completed a collection of films to accompany a live performance of John Cage’s Sonatas and Interludes, premiered at The Stone in New York in collaboration with pianist Emily Manzo. They recently completed a 60 screen permanent video installation in the international terminal at LAX airport.
Paul was artist in residence at the Atlantic Center for the Arts in Florida with Gillian Wearing, and has received many awards from the Irish Arts Council for his work since 1997. He was a fellow at the Macdowell Artist Colony in New Hampshire, and the Bogliasco Foundation, Italy. He was awarded a residency at the Experimental Television Center in New York, which led to a grant from NYCSA, the New York State Council for the Arts. He lives in Dublin and Brooklyn.
See also www.condensate.net and www.stillfilms.org
Shelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.
Silver’s work has been exhibited and broadcast widely throughout the U.S., Europe and Asia. Screenings and installations have been mounted by venues such as the Museum of Modern Art in New York, the International Center of Photography in New York, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the Pompidou Center, the Kyoto Museum, the London Institute of Contemporary Arts, the Museo Reina Sofia, and the London, Singapore, New York, Moscow, and Berlin film festivals. Her work has been broadcast on BBC/England, PBS/USA, Arte, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain. Silver’s numerous fellowships and grants include awards from the Guggenheim Foundation, the NEA, NYSCA, NYFA, the DAAD, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. She is based in New York where she is an Associate Professor of Visual Arts in the School of the Arts, Columbia University.
IMG_4013Arsenalshorts
Image by uniondocs
The program collects films that are asking the same questions: What was here before? And how can you show it if it’s not there anymore? When and how did absence turn into presence? Does it always do that?
It also connects places in East and West, New York, Berlin and Warsaw. Shanghai and Venice. Not only through images, but also through the people who made the films (and are in them): For them, 1984 had been fiction and 1989 a reality. They are from a generation that has been producing images and sounds before and after the Berlin Wall, in East and West, until today.
Program runtime is 62 minutes.
a-b-city by Dieter Hormel and Brigitte Bühler
BRD 1985, 8 minutes, digital projection
Accompanied by a score using music of Pere Ubu and Einstürzende Neubauten, a-b-city revolves around West-Berlin’s psychodelic atmosphere. Brigitte Bühler and Dieter Hormel, who were renown for their fast paced and skillfully edited Super-8 clips, mix TV images and time-lapse shots of nightly streets, drifting clouds, and a men continuously jumping in front of the Berlin Wall, bringing about an impression of the enclosed city that constantly shifts between ecstasis and depression. (Text: Florian Wüst)
Haunt No. 1-3 by Niklas Goldbach
2007, 2 minutes, digital projection
Haunt No. 1, Video Loop, 35 sec., Stereo
Assistance: Daniel Reuter
Haunt No. 2, Video Loop, 28 sec., Stereo
Assistance: Viktor Neumann
Haunt No. 3, Video Loop, 36 sec., Stereo
Assistance: Viktor Neumann
The video triptych focuses on the historical background and the future of up to now abandoned places in Berlin’s former working-class district Prenzlauer Berg where the gentrification process is almost accomplished.
5 lessons and 9 questions about Chinatown by Shelly Silver
USA, 2009, 10 minutes, digital projection
You live somewhere, walk down the same street 50, 100, 10,000 times, each time taking in fragments, but never fully registering THE PLACE. Years, decades go by and you continue,unseeing, possibly unseen. A building comes down, and before the next one is up you ask yourself ‘what used to be there?’ You are only vaguely aware of the district’s shifting patterns and the sense that, since the 19th century, wave after wave of inhabitants have moved through and transformed these alleyways, tenements, stoops and shops.
10 square blocks, past, present, future, time, light, movement, immigration, exclusion, gentrification, racism, history, China, America, 3 languages, 13 voices, 152 years, 17,820 frames, 9 minutes, 54 seconds, 9 questions, 5 lessons, Chinatown.
View Excerpt
Former East/Former West by Shelly Silver
USA, 1994, excerpt 10-15 minutes digital projection
Made up of hundreds of street interviews done in Berlin two years after the Reunification, FORMER EAST/FORMER WEST is a vital, surprisingly open, and at times disturbing documentary. Silver questions the very notion of a shared language, focusing on changing definitions of words for political and economic systems – democracy, freedom, capitalism, socialism, nationality and history.
Magnetic [eye] Berlin by Gunter Krüger
Germany, 2007 / 08, excerpt 10 minutes, digital projection
Since 1997, Gunter Krüger has been archiving media fragments which he finds on the street – broken audiotapes, scraps of VHS and discarded compact discs. At the location he records additional filmic notes.
In the second part of the “Magnetic [eye]” series, “Magnetic [eye] Berlin”, a selection of media fragments forms a portrait of his living space. The film is designed as a generative structure, i.e. there is no final version.
In 2007 and 2008, three different playlists were made, each varying in both the selection of the media fragments as well as their compilation. By integrating new modules, new playlists with predefined running times can be created for each screening.
Nullpanorama by Martin Ebner
Germany, 2003, 1 minute, digital projection
The ascent and decent of an advertiser’s captive balloon over the roofs of the capital.
Proprio Aperto by Judith Hopf, Natascha Sadr Haghighian, Florian Zeyfang
Germany / USA, 2005, 6 minutes, digital projection
The single channel video and installation work PROPRIO APERTO, which was first presented in February 2005 at the Museum of Contemporary Art, Chicago in the exhibition, “Universal Experience: Art, Life and the Tourist’s Eye,” shows a walk taken through the giardini, the grounds of the Venice Biennale, in winter.
The conversations that took place there among Judith Hopf, Natascha Sadr-Hadhighian and Florian Zeyfang result in a text that circles around landscapes of ruin, ghosts and the Dasein in cultural hegemony. The images — actually photographs — are presented in slow pans, and the various levels of destruction of the pavilion come more and more into the center.
The tone of voice and language congenially conveys the suitably contemplative mood during the walk, which carries over to the spectator.
The Rooms (excerpt) by Tim Blue and Paul Rowley
USA 2010, 5 minutes, digital projection
With rich sound design and diverse formats, THE ROOMS is an experimental study of an abandoned world that somehow continues to operate. This excerpt feautures the HAU 1 / Hebbel am Ufer, a historical theater in Berlin, that turned into a cultural space for contemporary experimental and innovative theater and performance art (HAU 1).
We will be strong in our weakness. Notes from the first congress of the Jewish Renaissance in Poland.Performance by Yael Bartana with Susanne Sachsse and Slawomir Sierakowski
Israel/Netherlands/Poland, 2010, 15 minutes, digital video projection
Jewish Renaissance movement in Poland, Tel-Aviv/Amsterdam/Warsaw
Stefanie Schulte Strathaus is a film and video curator who lives and works in Berlin. She is Co-Director of Arsenal – Institute for Film and Video Art (with Milena Gregor and Birgit Kohler) and Member of the selection committee of the Berlinale Forum and founding director of Forum Expanded, a new section of the Berlin International Film Festival which negotiates the boundaries of cinema. Her curatorial work comprises numerous film programs, retrospectives and exhibitions, among them Michael Snow, Guy Maddin, Heinz Emigholz, Birgit Hein, Ulrike Ottinger, Stephen Dwoskin and many others. She recently co-curated (with Susanne Sachsse and Marc Siegel) LIVE FILM! JACK SMITH! Five Flaming Days in A Rented World (October 2009).
Her texts have been published in Frauen und Film, The Moving Image, Texte zur Kunst, Ästhetik & Kommunikation, Schriftenreihe Kinemathek as well as in various festival and exhibition catalogues. She is the editor of: Kinemathekheft Nr. 93: Germaine Dulac (with Sabine Nessel and Heide Schlüpmann), Berlin 2002; “The Memo Book. Films, Videos and Installations by Matthias Müller”, Berlin: Vorwerk 8, 2005; “The Primal Scene: Christine Noll Brinckmann. Films and Texts”, Berlin: arsenal edition, 2008; “Who says concrete doesn’t burn, have you tried? West Berlin Film in the ’80s” (with Florian Wüst), Berlin: arsenal edition, 2008. www.arsenal-berlin.de
Paul Rowley was born 1971 in Dublin. He has worked for more than ten years as a filmmaker and visual artist.
His critically acclaimed feature documentary Seaview, which he co-directed with Nicky Gogan, premiered at the Berlin Film Festival and has toured festivals internationally since.
Together with David Phillips, Paul completed a collection of films to accompany a live performance of John Cage’s Sonatas and Interludes, premiered at The Stone in New York in collaboration with pianist Emily Manzo. They recently completed a 60 screen permanent video installation in the international terminal at LAX airport.
Paul was artist in residence at the Atlantic Center for the Arts in Florida with Gillian Wearing, and has received many awards from the Irish Arts Council for his work since 1997. He was a fellow at the Macdowell Artist Colony in New Hampshire, and the Bogliasco Foundation, Italy. He was awarded a residency at the Experimental Television Center in New York, which led to a grant from NYCSA, the New York State Council for the Arts. He lives in Dublin and Brooklyn.
See also www.condensate.net and www.stillfilms.org
Shelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.
Silver’s work has been exhibited and broadcast widely throughout the U.S., Europe and Asia. Screenings and installations have been mounted by venues such as the Museum of Modern Art in New York, the International Center of Photography in New York, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the Pompidou Center, the Kyoto Museum, the London Institute of Contemporary Arts, the Museo Reina Sofia, and the London, Singapore, New York, Moscow, and Berlin film festivals. Her work has been broadcast on BBC/England, PBS/USA, Arte, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain. Silver’s numerous fellowships and grants include awards from the Guggenheim Foundation, the NEA, NYSCA, NYFA, the DAAD, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. She is based in New York where she is an Associate Professor of Visual Arts in the School of the Arts, Columbia University.
Portrait of Elizabeth I (1533 - 1603) The Armada Portrait 1600c.
Image by lisby1
Phillip Mould:
Elizabeth I understood the power of portraiture better than almost any other English monarch. Like all the Tudors, she knew well the value of making her subjects aware of her identity. Her grandfather, Henry VII, was the first monarch to put his own accurate portrait on the English coinage, while her father, Henry VIII, seized on Holbein’s ability to present himself as a strong and majestic ruler in numerous official portraits. So Elizabeth too mobilised her own image, emboldened and reinforced with expensive costumes and sumptuous jewels, as a symbol of royal authority. Above all, such portraits were a demonstration that, despite being a woman, Elizabeth was the natural and legitimate ruler of England.
The flamboyant image of Elizabeth seen here has become one of the most successful sovereign statements in English history. The contrast with Elizabeth’s earlier portraiture is striking. In the first portrait of her as Queen, the ‘Clopton’ portrait of 1558 [Private Collection, formerly Philip Mould Ltd], Elizabeth is shown with conspicuous piety. She wears a relatively simple black dress, and holds a religious book in her hand. This portrayal accords well with what we know to be Elizabeth’s virtuous, even frugal youthful character.
But as her reign progressed Elizabeth’s portraiture became increasingly outré. Each portrait outdid the last with ever more elaborate changes in costume, pose, composition and jewelry, a progression matched by Elizabeth’s increasing addiction to expensive jewels. The process culminates in the over-indulgent, oversized, almost absurd example of the ‘Ditchley’ portrait [National Portrait Gallery], in which Elizabeth is shown full length, bestriding the earth, as bolts of lighting strike dramatically through the sky behind her. Her face is small, aged, even ugly, and overwhelmed by the rest of the painting. Elizabeth the person is subsumed by Elizabeth the icon.
And this was precisely the intention. They key to understanding Elizabeth’s portraiture lies in a recognition of her political vulnerability. Female monarchs in the sixteenth century were rare enough. Unmarried female monarchs were unheard of. Her image, therefore, could not stress traditional female charms; beauty, grace, fertility. In fact, it had to stress the opposite. From the late 1570s onwards, when it became clear that she would not marry, Elizabeth was effectively de-sexed. She was portrayed as a virtuous emblem of state, the Virgin Queen forsaking marriage for the good of the kingdom. It was therefore not enough for Elizabeth to rely on likeness alone in her portraiture. She certainly could not be portrayed in the demur, usually seated, manner of her sister Mary, supported as she was by her marriage to Philip of Spain. And, of course, Elizabeth was unable to rely on sheer physical presence in her portraits, as her father done. Thus her portraits came to rely on bejewelled and bulky costumes – ‘Gloriana’ – for the projection of majesty.
This portrait is one of the best known images of the Queen. Commonly called the ‘Armada’ type, it is one of four versions, most likely painted in the late 1580s and early 1590s. The three related pictures are at; Woburn Abbey, the National Portrait Gallery, and in the possession of the descendants of Sir Francis Drake. They celebrate the apogaic defeat of the Spanish fleet in 1588 by the inclusion of a naval battle in the background.
What is considered the ‘prime’ Armada type, that at Woburn, has been attributed to George Gower. Gower produced a large number of portraits of Elizabeth in his capacity as the Queen’s Serjeant painter, and thus would have had an extensive workshop to help meet the high demand. This portrait was most probably painted by an artist familiar with his practices.
The production of Elizabeth’s portraits followed well established practices. A standardized face ‘mask’ was used, as has been the case in this example. Face masks not only saved time, but made up for the impossibility of painting the Queen from life for each new commission. Masks were also used to adhere to the fairly stringent, if unofficial, rules surrounding the production of the Queen’s image. She preferred, for example, to have no shadows across her face, and hence the stark, bright appearance of her features. The pose and costume would then have been painted with greater artistic freedom. Subtle changes would have been introduced in each portrait, usually in the accessories such as the fan in this example, so that the dependence on standard facial types did not give rise to identical portraits of the Queen. It appears to have been accepted that no two portraits of the Queen should be identical.
There has been some debate about the precise date of this portrait. When recently sold at Christies, London, it was dated to between1600 and1620, principally due to the use of canvas. However, it is possible that the portrait can be dated to within Elizabeth’s lifetime. An imposition of a terminus post quem of 1600 on the present portrait, simply because canvas was most commonly a seventeenth century medium, is unjustified.
Although canvas is thought to have been introduced mainly at the turn of the seventeenth century, there are many examples of canvas portraits in the sixteenth century, particularly for larger works where the use of oak might have been prohibitively expensive. In Europe canvas was used throughout the sixteenth century, while in England it can be found in early Tudor royal portraits, such as the group of Henry VIII and his family [Royal Collection] and a portrait of Edward VI [Lord Egremont]. There are also examples of contemporary portraits of Elizabeth on canvas, such as; Quentin Metsys the Younger’s ‘Sieve’ portrait of 1583, Marcus Gheeraerdts’ ‘Ditchley’ portrait of c.1592 [NPG]; John Bettes the Younger’s portrait of c.1590 [on loan to Pollok House, Glasgow]; and the anonymous ‘Elizabeth I with a Crescent-moon Jewel’ [Duke of Buccleuch and Queensbury]. Significantly, two portraits that use the same face-mask as the Armada present portrait are also on canvas, one dated c.1590 at Toledo Museum of Art, and another, a full-length, also c.1590, at Trinity College Cambridge [check]. The present work is painted on a particularly coarse weave, as seen in very early English canvas paintings.
If the present work was painted after Elizabeth’s death, then it must have been a copied from an earlier work, namely, one of the other three Armada versions. What is evident from even the cursory comparison of the facial features however, is that the sensitive modelling and cadaverous characterisation are both manifestly early in handling and of notable high quality, particularly when set aside other versions. It would seem untenable that this could have been completed by any artist who did not have experience of contemporaneous workshop practices. Paint analysis has confirmed a possible date from the late sixteenth century, and reveals the use of azurite, a pigment regularly used in the sixteenth century. And, finally, and indicatively there are numerous differences between the present painting and the other three Armada types.
The most obvious difference is the lack of an Armada scene. It would make little sense for a posthumous copy of an Armada portrait not to include any reference to the greatest event of her reign, particularly when such a copy must have been commissioned with a degree of retrospective gloire. For all its later acclaim, the Armada portrait type was in fact a relatively short lived phenomenon. It seems improbable that an artist charged with making a copy in James I’s reign would chose a work of relative rarity, and which cannot by then have been easily accessible.
There are also significant differences in the jewelry between the present painting and the three other versions. In the present work the Queen wears a double chain of pearls across her bodice. A similar arrangement can be seen in Gower type portraits of the 1580s, the ‘Darnley’ portrait c.1575, Marcus Gheerearts the Elder’s c.1585 full length, and most strikingly in Quentin Metys the Younger’s ‘Sieve’ portrait of 1583. However, in the other three Armada portraits the Queen is shown wearing a far larger arrangement of pearls. These were almost certainly those bequeathed by the Earl of Leicester to Elizabeth, his “most dear and gracious Sovereign whose creature under God I have been”, in 1588. Elizabeth, who locked herself in her room on hearing Leicester’s demise, is shown wearing this gift in most of her later portraits. It would be extremely unusual for an artist to copy an Armada portrait, and then, in addition to making numerous changes in the pose and costume, revert to a formula of jewelry used before 1588.
Similarly, in the present portrait Elizabeth is shown holding a distinctive jewel of a large diamond, flanked by two figures, with a large pendant pearl. This same jewel can be seen clearly in the Metsys’ sieve portrait. It makes further appearances, in a more generalized form, in only a handful of portraits dated to the 1580s, such as that attributed by Roy Strong to John Bettes the Younger [Private Collection, Gloriana p.118, and in the little-known portrait of Elizabeth seated on a throne [Lord Tollemache]. It does not appear in portraits of the Queen post 1590. Its presence in the present portrait could be explained by an artist conversant in Elizabethan iconography and fashion – and that means a contemporary workshop.
We must also consider the likely circumstances in which the portrait would have been commissioned. Royal portraits of this size and scale were usually commissioned as a means of displaying loyalty to the regime, perhaps by a leading courtier, nobleman, or gentry family. In this context a late copy of Elizabeth on the scale and quality seen here would have had no political value in the reign of the new Stuart king, James I. Posthumous copies of Elizabeth tend to be confined to smaller corridor portraits, or include obvious references to her age and death, such as the example at Corsham Court, in which a weary Queen is overshadowed by the figure of Death.
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