Some cool family photo images:
Esprit de famille...!!!
Image by Denis Collette...!!!
Reflet de mon lac sauvage …!!!
Un safari photo impressioniste concentré sur un autre petit morceau de planète ...!!!
Une démarche "waldennienne" à la Thoreau …!!!
__________________________
Family Spirit...!!!
My wild lake reflection...!!!
An impressionnist photo safari concentrated on other of my small piece of planet …!!!
A Thoreau "waldennienne" approach …!!!
Check out these image download images:
iPhone Background - Sweet Banana
Image by Patrick Hoesly
This iPhone Background (640x960 wallpaper) is released under a Creative Commons license.
If you like this image, please leave a comment. Thanks!
How do I get this onto my iPhone?
There are a number of ways to do this, however I think the easiest and fastest way is to download Flickr’s free app. Within the Flickr app you surf over to my photo feed to view the images (if you make me a contact then I’ll appear in the flickr contact list). When you find one you like, just click the download button and save the image directly to your phone. Quick & Simple!
I don’t have an iPhone. Can I still use it on my phone?
As of this writing this image (960 x 640) should be large enough to be used as wallpaper with the Droid / Android, BlackBerry, Windows 7, and iPhone.
How did you make it?
This background was made using graphic design software such as Photoshop, Illustrator, Filter Forge, Genetica, Wacom, Alien Skin, Topaz Labs, as well as several other programs.
About Patrick Hoesly
I’m a graphic illustrator, specializing in architectural illustrations and graphic design. I work with Architects, Interior Designers, and Landscape Architects, to help them visualize and sell their designs ...Or in other words... I make the fun/cool images!
Check out my Blog at ZooBoingReview.blogspot.com
Also take a look at my website at www.ZooBoing.com
nighttime - desktop background wallpaper
Image by (matt)
photochallenge.org, 2009 challenge, 101/365, theme: nighttime.
hope you enjoy this series of desktop background wallpapers.
these images are created for a 1.6:1 aspect ratio. the image resolution is 2560x1600, use a setting such as center or fit if you are using a different resolution. this series is comprised of images i like and personally use as my desktop backgrounds.
impact - desktop background wallpaper
Image by (matt)
a reminder of the impact from the development of manufactured landscapes as amenities for humans.
hope you enjoy this series of desktop background wallpapers.
these images are created for a 1.6:1 aspect ratio. the image resolution is 2560x1600, use a setting such as center or fit if you are using a different resolution. this series is comprised of images i like and personally use as my desktop backgrounds.
A few nice make a picture images I found:
1924 Rolls Royce Silver Ghost (03)
Image by Georg Schwalbach (GS1311)
The Rolls-Royce Silver Ghost refers both to a car model and to one specific car from that series.
Originally named the "40/50 h.p." the chassis was originally produced at Royce's Manchester works, before moving to Derby in July 1908 and also, between 1921 and 1926, in Springfield, Massachusetts. Chassis no. 60551, registered AX 201, was the car that was originally given the name "Silver Ghost." Other 40/50 hp cars were also given names but the Silver Ghost title was taken up by the press and soon all 40/50s were called by the name, a fact not officially recognised by Rolls-Royce until 1925 when the Phantom range was launched.
The Silver Ghost was the origin of Rolls-Royce's claim of making the "Best car in the world" – a phrase coined not by themselves, but by the prestigious publication Autocar in 1907.
The chassis and engine were also used as the basis of a range of Rolls-Royce Armoured Cars.
(Wikipedia)
- - -
Das unter der Bezeichnung Rolls-Royce 40/50 hp entwickelte Automobil wurde von 1906 bis 1925 produziert und durch die Phantom-Reihe abgelöst. 1913/1914, nach dem Gewinn eines entsprechenden Wettbewerbes, wurde auch ein Modell mit dem Namen Rolls-Royce Alpine Eagle gefertigt, dessen Motor einen geringfügig größereren Hubraum (121 mm Hub anstatt 120 mm), aber eine geringere Leistung (55 bhp (40 kW) anstatt 65 bhp (48 kW)) hatte.
Vor dem ersten Weltkrieg war der Silver Ghost eines der technisch fortschrittlichsten Autos der Welt, was ihm den Ruf als bestes Auto der Welt einbrachte. Während des Krieges erfolgte keine Weiterentwicklung und der Rückstand auf andere zeitgenössische Konstruktionen wuchs. Schließlich erfolgte 1925 der Ersatz durch den Rolls-Royce Phantom I. 1906 wurde auch von einem britischen Automobiljournalisten erstmals die Wortschöpfung der Waftability diesem Fahrzeug zugeschrieben. Diese Wortschöpfung von damals prägt die Rolls-Royce-Fahrzeuge bis heute als Alleinstellungsmerkmal.
Modelle vom Typ Silver Ghost hatten unter anderem in folgenden Filmen Auftritte: Lichter der Großstadt (1931), Rebecca (1940), Citizen Kane (1941), Giganten (1956), Lawrence von Arabien (1962), Die tollkühnen Männer in ihren fliegenden Kisten (1965) und Frankenstein Junior (1974).
(Wikipedia)
Movie FX
Image by Ric e Ette
Picture taken at the "Maker Faire 2008" (San Mateo, CA) - a collection of creative, weird, and sometimes useless (but always interesting) inventions, exhibits and art performances. Check out the other pictures in this set.
From http://makerfaire.com/pub/e/1311:
[Gary Barth] lives locally (in San Carlos) and produces a line of Special Effects DVDs that are taught by Hollywood professionals. Each DVD is 3 hours long and has multiple lessons on various techniques including molding, casting, painting, teethmaking, sculpting, prop-making, makeup, and so on. Check out the movie prop decorations and live makeup demos as well!
--
Efeitos especiais para cinema.
Foto tirada na "Maker Faire 2008" (em San Mateo, Califórnia) - uma feira repleta de criativas, supreendentes, e algumas vezes inúteis (mas sempre interessantes) invenções, mostras e exibições de arte. Confira as outras fotos deste álbum.
Some cool fun photos images:
Fun Copacabana Beach
Image by alobos Life
Sol,playa,mar,deporte,alegria,en Copacabana, Rio de Janeiro - Brasil.
Photos of all kinds of people having fun at the beach
A few nice image editor images I found:
Buttercup page 13
Image by perpetualplum
This illustration is from the public domain book "The Home and School Reference Work" Volume I by The Home and School Education Society, H. M. Dixon, President and Managing Editor. The book was published in 1917 by The Home and School Education Society.
This drawing of Aconite (buttercup family ) is from page 13.
Chambered Nautilus page 542
Image by perpetualplum
This illustration is from "The Home and School Reference Work, Volume II" by The Home and School Education Society, H. M. Dixon, President and Managing Editor. The book was published in 1917 by The Home and School Education Society.
Check out these photo booth images:
Big Omaha 2011 Photo Booth
Image by Silicon Prairie News
Big Omaha 2011 Photo Booth
Image by Silicon Prairie News
Big Omaha 2011 Photo Booth
Image by Silicon Prairie News
Some cool photo books images:
OBA books tower
Image by 24oranges.nl
Illustration for an article on the books tower in the children's books section of the public library in Amsterdam:
www.24oranges.nl/2009/05/31/tower-of-childrens-books-in-a...
Photo by Branko Collin.
Check out these christmas photo card images:
hillhead primary school
Image by tom clearwood
christmas card type photo
Christmas Greetings
Image by blush printables
Stylish holiday photo cards available through blushprintables @ www.etsy.com/shop/blushprintables
Christmas Greetings
Image by blush printables
Stylish holiday photo cards available through blushprintables @ www.etsy.com/shop/blushprintables
Check out these edit image images:
Driven Motorsport cruise 16 Jun 2013
Image by Allshots Imaging
Images taken while in attendance at a Driven Motorsport car cruise from Salisbury to the Barossa Valley, South Australia.
Taken with a tripod-mounted Canon EOS 40D and edited in Lightroom & Photoshop (with initial blends for blended images being done in EnfuseGUI Lightroom Plugin. Masks tweaked in Photoshop.)
Happy Halloween! (Explored)
Image by Express Monorail
...photo edited entirely in RAWTherapee, which I believe is a first for me. Looking at it on the laptop monitor, it looks like I could have gotten away with pushing the colors a touch more, and I forgot to "save" the clocks. I could have done that in RAWTherapee, but I would have had to brush them in - in Paint Shop Pro.
View On Black
See where this picture was taken. [?]
__________________________________________________________________
This picture made it to Flickr Explore October 31, 2009 - #194 - thanks everyone!
Some cool picture collages images:
Mosaic Everest, made with my own pictures from Fall 2000
Image by twiga269 ॐ FEMEN
1. Everest and its Glacier, 2. Everest, 8848m, 3. South Col , 7925m ~ Death Zone, 4. The Top of Everest, 8848m
December 09 LittleBook
Image by dawnmichele
On the left you can slide the grocery list out and take a look.
The right - when I use too much of the same picture it's not because I don't have lots of others, it's usually because I printed out all the wrong images.
Spectral
Image by afroboof
A small version of a collage of pictures that I'm testing before putting it up in a corner of my bedroom.
Need to let it sink in before I commit...
Large Version here:
picasaweb.google.com/lh/photo/5UeXheouw4WUtE2WFMlWCQ?auth...
Check out these download image images:
succulent - desktop background wallpaper
Image by (matt)
hope you enjoy this series of desktop background wallpapers.
these images are created for a 1.6:1 aspect ratio. the image resolution is 2560x1600, use a setting such as center or fit if you are using a different resolution.
this series is comprised of images i like and personally use as my desktop background. if there are other images in my stream you'd like to see as backgrounds send me a note.
Check out these search image images:
Plus pong
Image by 1D110
Vert tige
Image by 1D110
www.flickriver.com/photos/22297595@N02/
Explorer Highest position: 113 on Tuesday, March 24, 2009
A few nice picture sizes images I found:
1971 Opel Ascona A 19 SR Caravan (02)
Image by Georg Schwalbach (GS1311)
The Opel Ascona is a mid-sized car produced by Opel. It had three generations produced from 1970 to 1988. In motorsport, the Ascona 400 rally car driven by Walter Röhrl won the World Rally Championship drivers' title in the 1982 season.
The Ascona took its name from the lakeside resort of that name in Ticino, Switzerland, and already in the 1950s a special edition of the Opel Rekord P1 was sold as an Opel Ascona in Switzerland, where the name was again used in 1968 for a locally adapted version of the Opel Kadett B into which the manufacturers had persuaded a 1.7-litre engine borrowed from the larger Rekord model of the time.[1] The Opel Ascona A launched in 1970 and sold across Europe was, however, the first mainstream Opel model to carry the name.
The Ascona was introduced in September 1970 and ended production in August 1988, to be replaced by the Opel Vectra A.
(Wikipedia)
- - -
Der Opel Ascona bezeichnet die automobile Mittelklasse von Opel zwischen 1970 und 1988. Der Name Ascona stammt vom gleichnamigen Dorf am Lago Maggiore in der italienischsprachigen Schweiz.
Schon Ende der 1950er Jahre wurden in der Schweiz einige Sondermodelle des Olympia Rekord P1 als Ascona bezeichnet. Außerdem gab es Ende der 1960er Jahre eine besondere Ausstattungsvariante des Kadett B als Ascona 1700 in der Schweiz.
Nachfolger des Opel Ascona ist der Opel Vectra.
(Wikipedia)
Check out these photo website images:
Saint Stephen's Blue - HDR
Image by Free HDR Photos - www.freestock.ca
St. Stephen's Green Park in Dublin, Ireland. HDR composite with some targeted color processing to simulate a more winter cold atmosphere.
This photo is released under a standard Creative Commons License - Attribution 3.0 Unported. It gives you a lot of freedom to use my work commercially as long as you credit and link back to the same free image from my website, www.freestock.ca
A few nice image search images I found:
Beach of giant mushrooms
Image by NeeZhom Photomalaya
unikversiti.blogspot.com
Textured photo. All photos shot by me and combined together in PS. I repeat , all photos shot by me, means no editable or 3d or whatever. 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/ .
Add textures to an image
How to make textured portrait
Comments and critics are welcomed, thanx so much and have great days :) Wanna know tired or not creating this photo? Try it yourself :)
View large - farm3.static.flickr.com/2363/3545105501_53221aa17b_o.jpg
End of the world is near
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 .......
Some cool image gallery images:
The BEAT CARES holiday food and toy drive at Brentwood Town Centre photos by Ron Sombilon Gallery (596)
Image by SOMBILON ART, MEDIA and PHOTOGRAPHY
A few nice photo booths images I found:
Old School Photo Booth
Image by Molemaster
Photo Booth sepia
Image by Adri H
A few nice online image editing images I found:
Northpoint Life and Times AWN 23Nov2011
Image by mikebaird
Northpoint "Life and Times" Adventures with Nature Walk led by docents Norma Wightman and Gwen Infante Morro Bay, CA 23Nov2011
During an extreme low -1.1 foot tide this rock was seen covered with marine life, including sea stars and anemones.
Photo © 2011 “Mike” Michael L. Baird, mike {at] mikebaird d o t com, flickr.bairdphotos.com; Shooting an Apple iPhone 4S (which records exact GPS location inb the picture EXIF).
To use this photo, see access, attribution, and commenting recommendations at www.flickr.com/people/mikebaird/#credit - Please add comments/notes/tags to add to or correct information, identification, etc. Please, no comments or invites with badges, unrelated images, flashing icons, links to your photos, multiple invites, or invites with award levels and/or award/post rules. Critique is always welcomed.
*** unrelated to this photo in particular, I post here some comments I made 11/24/2011 about the Apple iPhone 4S and Aperture in the iCloud.... ****
I want to talk about Apple's Aperture 3, which is only in the Mac App Store
(It is still 9 in the Apple Online Store, Amazon, etc., and, it is the same program, just not delivered on physical media).
You can download and install it as many times as you like to all of your machines using the same Apple ID. That beats searching for a DVD.
All of Apple's newer software is now being delivered/sold only online, even the latest Lion OS X.
Normally I use only Lightroom for my image management and processing (with some Photoshop CS5 if needed), but since the introduction of iCloud from Apple recently with the iOS 5 and Lion OS X upgrades, and the iPhone 4S,
I find myself taking a lot of iPhone photos (8MP, HDR, HD Video, GPS geo-tagging), the quality of which has astounded me and many others.
The cool thing about iCloud is that as soon as you enter a WiFi zone, all the photos you've taken earlier are automatically uploaded into the cloud (Your Photo Stream in iCloud is a rolling collection of your last 1000 photos), and
then they are automatically downloaded into the "Photo Stream" of every Mac device you own running OS X Lion (iMAc, MacBooks, iMAcs, iPads, etc.), where they are then automatically archived permanently.
No longer do I need to remove an SDHC card from a point-and-shoot camera and import the photos into a computer, and then worry about syncing all my photos from my different machines into consistent libraries.
For this to work on OSX Lion (iMac, MacBooks...), however, one MUST use either Apple's iPhoto or Aperture program.
Now many of you know I hate iPhoto (it tries as hard as possible not to let you know where your photos are on your hard drive; makes duplicate copies with every edit, etc.).
So I was curious and looked at Aperture again even though I was biased against it.
I didn't like the 9 price, but when I found that Apple lowered the download price in the App store to ,
I bought it and played with it.
You can learn about Aperture at
www.apple.com/aperture/what-is.html
www.apple.com/aperture/action/
www.apple.com/aperture/action/frakes/
www.apple.com/aperture/what-is.html#overlay-jarvis
www.apple.com/aperture/iphoto-to-aperture/
store.apple.com/us/product/MB957Z/A#overview
--- you too will be impressed with it's power... many professionals use it for high-end production projects.
So, bottom line is that I'm done with iPhoto.
All my iPhone photos are sent to my Aperture Application on my Macs automatically (and I'll also know exactly where they are on the hard drive).
I then have the option to further export/import between Lightroom and Aperture or Photoshop if I want to preserve my usual workflow, and prepare the iPhone photos the same way I do all my RAW Canon SLR images.
I may well not even bother using Lightroom treatment for many of my social iPhone photos, as Aperture cleans them up in seconds... and provides automated Flickr and such uploads.
I highly recommend Apple's Aperture as a vehicle for integrating your iPhone iCloud images into your existing Lightroom/Bridge/Photoshop workflow.
And, many professionals find they prefer to use Aperture as their only image management/processing tool (it is nicely integrated into the Apple eco-system, using for example your Apple Contacts to aid in labeling faces in your images).
very impressive. Apple is doing a lot of things right.
I wonder when Canon and Nikon will catch up. 11/24/2011
Cool Toys Pic of the Day - FromthePage
Image by rosefirerising
FromthePage:
beta.fromthepage.com/?ol=l_hd_logo
FAQ:
beta.fromthepage.com/static/faq
In their own words:
“FromThePage is free software that allows volunteers to transcribe
handwritten documents online. It's easy to index and annotate subjects
within a text using a simple, wiki-like mark-up. Users can discuss
difficult writing or obscure words within a page to refine their
transcription. The resulting text is hosted on the web, making documents
easy to read and search.”
This is an interesting little website that allows laypersons, families,
friends, and communities to work on transcribing handwritten manuscripts.
I started by signing up, which was quick and easy, but not secure, so be
sure to use a throw-away password for this site. From there, you can
choose to view collections on the site, transcribe unfinished pages, or
request a project to be added to the site.
I went to the dashboard first (link in the upper right) and found that it
was difficult to determine what was complete, and where I should start. I
went back to the home page and found a link there under “How do I get
started” that took me to the next page needing transcription in the current
project. From there, it was quite easy. Passages either have a
transcription to the left of the image, or they say “Help transcribe this
page!” Clicking on that link takes you to the pictured interface.
There is an edit box on the left with instructions below it. The
instructions include what spelling should be used (original), what
punctuation should be used (periods can be added, but not commas), and how
to handle illegible or questionable sections (brackets). Once completed,
you submit the piece for editing and that’s it. Thankfully you can zoom in
and out on the page also, otherwise my old eyes never would have lasted.
Although there aren’t a lot of updates on the GitHub site for the software,
the new transcriptions and edits are all within the last few hours, so the
site is getting traffic. This could be a great resource if your library
has manuscripts it would like to offer for transcription, or if you have
personal items that you’d like help tagging and classifying.
This is a guest post by Chris Bulin (@Arduanne), a graduate student
assistant at the Taubman Health Sciences Library.
[image: Inline image 2]
[image: Inline image 1]
Cool Toys Pic of the Day - FromthePage
Image by rosefirerising
FromthePage:
beta.fromthepage.com/?ol=l_hd_logo
FAQ:
beta.fromthepage.com/static/faq
In their own words:
“FromThePage is free software that allows volunteers to transcribe
handwritten documents online. It's easy to index and annotate subjects
within a text using a simple, wiki-like mark-up. Users can discuss
difficult writing or obscure words within a page to refine their
transcription. The resulting text is hosted on the web, making documents
easy to read and search.”
This is an interesting little website that allows laypersons, families,
friends, and communities to work on transcribing handwritten manuscripts.
I started by signing up, which was quick and easy, but not secure, so be
sure to use a throw-away password for this site. From there, you can
choose to view collections on the site, transcribe unfinished pages, or
request a project to be added to the site.
I went to the dashboard first (link in the upper right) and found that it
was difficult to determine what was complete, and where I should start. I
went back to the home page and found a link there under “How do I get
started” that took me to the next page needing transcription in the current
project. From there, it was quite easy. Passages either have a
transcription to the left of the image, or they say “Help transcribe this
page!” Clicking on that link takes you to the pictured interface.
There is an edit box on the left with instructions below it. The
instructions include what spelling should be used (original), what
punctuation should be used (periods can be added, but not commas), and how
to handle illegible or questionable sections (brackets). Once completed,
you submit the piece for editing and that’s it. Thankfully you can zoom in
and out on the page also, otherwise my old eyes never would have lasted.
Although there aren’t a lot of updates on the GitHub site for the software,
the new transcriptions and edits are all within the last few hours, so the
site is getting traffic. This could be a great resource if your library
has manuscripts it would like to offer for transcription, or if you have
personal items that you’d like help tagging and classifying.
This is a guest post by Chris Bulin (@Arduanne), a graduate student
assistant at the Taubman Health Sciences Library.
[image: Inline image 2]
[image: Inline image 1]
A few nice my photos images I found:
My First Photo Shoot (#4286)
Image by mark sebastian
Shenaya
February 26th, 2006
Canon Digital Rebel (300d)
Canon EF-s 50mm f/1.8
*113th photo on Flickr Explore*
Mark J. Sebastian | www.markjsebastian.com
Check out these image editing online images:
Remake/Remodel 1: Thomas Zummer presents Stefaan Decostere
Image by uniondocs
Part 1: Screening
Warum Wir Männer die Technik so lieben/Why We Men Love Technology So Much
(1985, 57 minutes, color, sound, video, produced by BRTN/Belgian television)
A program on war, technology and perception, with interviews with Paul Virilio, Jack Goldstein, and Klaus vom Bruch
Lessen in Bescheidenheid/ Lessons in Modesty (selections from)
(1995, 90 minutes, color, sound, video)
Decostere looks at the inherent paradox in the conception of the future by scientists from the San Francisco area, who praise the merits of an on-line virtual community which will ultimately allow users to never leave the periphery of their neighbourhoods. In ‘Lessons in Modesty’, artists are made to experience and comment on the fiction of empowerment through high technology. Clearly two models of artists are set up before us. There are those who come out of studios, taking their work to in situ performance spaces, away from art institutions which are still suspicious of high tech, using their bodies as sites and receptacles of the techno-experience. And there are those whose studios are corporations such as Xerox and NASA, and who project a distance from the body. The first category addresses issues touching the materiality of the body head on. The second category is invested with a mission, a task: constructing a new time for a new body. This task is neither sacred nor profane; it is divine creation itself and the Mecca is the American West Coast.
Part 2: Seminar
Index, Affect, Artifact: Philosophical Aspects of Documentary Practice
‘Machines for seeing modify perception.’ -Paul Virilio
This seminar will examine contemporary accounts of documentary from a philosophical, critical and theoretical perspective, starting with early accounts, inherited from photographic practices, of the indexical relation between the media apparatus, the world, and media artifacts. From Walter Benjamin to Friedrich Kittler, via Bergson, Deleuze, Foucault, Virilio, Stiegler, Bolz, Derrida, and others, the philosophical interrogation of technically reproduced ‘realism’ circumscribes an immensely complex, rich, and roductive field. We will discuss aspects of a contempory theory of mediation/remediation by looking firsthand at a variety of works and excerpts. We will also discuss texts by Jay Leyda, Joris Ivens, Theodor Adorno, Giorgio Agamben, and others. References and Reading lists will be made available in class.
screenings of excerpts:
—Land Without Bread, Luis Buñuel
—Arbeiter Verlassen die Fabrik/Workers Leaving the Factory, Harun Farocki
—Videogramme Einer Revolution/Videograms of a Revolution Harun Farocki/Andrei Ujica
—CBS News, Dan Rather in China (broadcast television)
Stefaan Decostere studied film direction at the National Film School RITS in Brussels. Finishing in 1978, he directed his first documentary on Marcel Duchamp. From 1979 until 1998, he worked as director and producer for the Arts Department of the Flemish Belgian Television (the former BRTN). He was amongst a handful of truly innovative directors working in television, creating new forms for increasingly complex ideas. Decostere approached the television medium as a serious platform for his specific ideas about media analysis, structural experimentation and video-graphic creation. In his documentaries he became increasingly critical of the medium he employed, a form of essay in which he responded to codes that uphold mainstream television programming. His television documentaries include productions for Belgian Television BRTN, co-productions for the Banff Center for the Arts, CBS, Channel Four, INA, NOS, TVE and VPRO.??Central to Decostere’s journey of discovery towards a radical, new visual language was his creative use of editing. Because of this, even today, his documentaries remain more than a report about their subject. Unlike ‘normal’ television productions, for the viewer, Decostere’s programmes offer a challenge. Because they approach themes and subjects from several perspectives, or offer an opportunity for reflection and introspection, they force the viewer to take an active stance.
Thomas Zummer is an independent scholar and writer, artist and curator. He is the author of articles on mediation and virtuality, including “Projection and Dis/embodiment: Genealogies of the Virtual,” in Into the Light: The Projected Image in American Art 1964-1977,” Chrissie Iles, ed., Whitney Museum of American Art/Harry Abrams, “Arrestments: Corporeality and Mediation,” in Suturas y fragmentos: Cuerpos y territories en la ciencoa-ficción/Stitch and Split: Bodies and Territories in Science Fiction, Nuria Homs, Laurence Rassel, eds., Fundacion Antoni Tapies/Constant vzw, Barcelona/Brussels, and “Variables: Notations on Stability, Permeability, and Plurality in Media Artifacts,” in Saving the Image: Art After Film, ed. Tanya Leighton, Pavel Buchler, [Glasgow and Manchester: Center for Photography/Glasgow and Manchester Metropolitan University]. Other publications include an e-book entitled “What the Hell is That?” (Beehive, 2000) an experimental and humorous look at the rhetoric of cinematic monstrosity; he has also written essays on Eleanor Antin, Vik Muniz, Leslie Thornton, Heleen Decuininck, Harun Farocki and others, and he is currently completing a book on photography, and working on Intercessionary Technologies: Database, Archive, Interface, a study of the early history of reference systems. In 1994 Mr. Zummer curated CRASH: Nostalgia for the Absence of Cyberspace, with Robert Reynolds, one of the first major exhibitions to have a significant portion of digital/online works and works in/as other forms of transmission. He and Mr. Reynolds also edited the book accompanying the exhibition. Mr. Zummer has also curated exhibitions at the Wexner Center for the Arts, CinéClub/Anthology Film Archives, Thread Waxing Space, the Katonah Museum of Art, and the Palais des Beaux-arts/Brussels In 1995 Thomas Zummer won 5th Prize in the ACA/CODA Architectural Design Competition for the City of Atlanta for the 1996 Olympics. Thomas Zummer’s drawings, media, and sculptural works have shown worldwide, with recent exhibitions at the Museum van Hedendaagse Kunst/Antwerpen, Fundacio Antoni Tapies, Barcelona, Mütter Museum, Philadelphia, Frederieke Taylor Gallery, Marcel Sitcoske Gallery, and White Box. Thomas Zummer is a frequent lecturer on philosophy, aesthetics, and the history of technology, and has taught at Brown University, New York University, The New School, the Transart Institute/Linz, and Tyler School of Art/Temple University. He is currently a Regular Visiting Professor in the Transmedia programme/post-graduate at the Hogeschool Sint-Lukas/Universite Leuven in Brussels, and Faculty in Philosophy at the Europäische Universität für Intisziplinare Studien/European Graduate School (EUFIS/EGS), Saas-Fee, Switzerland. Thomas Zummer currently lives and works in Brooklyn, NY.
Keith Sanborn is a media artist, theorist and translator based in New York. His work has been the subject of a number of one-person shows and has been included in major survey exhibitions such as the Whitney Biennial (twice), and festivals such as OVNI (Barcelona), Video Vortex, The Rotterdam International Film Festival, EMAF, and Oberhausen.
His theoretical work has appeared in publications ranging from Artforum and Kunst nach Ground Zero to exhibition catalogues published by MoMA (New York), Exit Art, and the San Francisco Cinematheque. He has translated into English the work of Guy Debord, Georges Bataille, Lev Kuleshov, Esther Shub, Paolo Gioli and Napoleon, among others.
He teaches at Princeton University and the Milton Avery Graduate School in the Arts of Bard College. In 2008, he taught at Smolny Institute in St. Petersburg on a Fulbright Fellowship while researching media in Russia.
Remake/Remodel 1: Thomas Zummer presents Stefaan Decostere
Image by uniondocs
Part 1: Screening
Warum Wir Männer die Technik so lieben/Why We Men Love Technology So Much
(1985, 57 minutes, color, sound, video, produced by BRTN/Belgian television)
A program on war, technology and perception, with interviews with Paul Virilio, Jack Goldstein, and Klaus vom Bruch
Lessen in Bescheidenheid/ Lessons in Modesty (selections from)
(1995, 90 minutes, color, sound, video)
Decostere looks at the inherent paradox in the conception of the future by scientists from the San Francisco area, who praise the merits of an on-line virtual community which will ultimately allow users to never leave the periphery of their neighbourhoods. In ‘Lessons in Modesty’, artists are made to experience and comment on the fiction of empowerment through high technology. Clearly two models of artists are set up before us. There are those who come out of studios, taking their work to in situ performance spaces, away from art institutions which are still suspicious of high tech, using their bodies as sites and receptacles of the techno-experience. And there are those whose studios are corporations such as Xerox and NASA, and who project a distance from the body. The first category addresses issues touching the materiality of the body head on. The second category is invested with a mission, a task: constructing a new time for a new body. This task is neither sacred nor profane; it is divine creation itself and the Mecca is the American West Coast.
Part 2: Seminar
Index, Affect, Artifact: Philosophical Aspects of Documentary Practice
‘Machines for seeing modify perception.’ -Paul Virilio
This seminar will examine contemporary accounts of documentary from a philosophical, critical and theoretical perspective, starting with early accounts, inherited from photographic practices, of the indexical relation between the media apparatus, the world, and media artifacts. From Walter Benjamin to Friedrich Kittler, via Bergson, Deleuze, Foucault, Virilio, Stiegler, Bolz, Derrida, and others, the philosophical interrogation of technically reproduced ‘realism’ circumscribes an immensely complex, rich, and roductive field. We will discuss aspects of a contempory theory of mediation/remediation by looking firsthand at a variety of works and excerpts. We will also discuss texts by Jay Leyda, Joris Ivens, Theodor Adorno, Giorgio Agamben, and others. References and Reading lists will be made available in class.
screenings of excerpts:
—Land Without Bread, Luis Buñuel
—Arbeiter Verlassen die Fabrik/Workers Leaving the Factory, Harun Farocki
—Videogramme Einer Revolution/Videograms of a Revolution Harun Farocki/Andrei Ujica
—CBS News, Dan Rather in China (broadcast television)
Stefaan Decostere studied film direction at the National Film School RITS in Brussels. Finishing in 1978, he directed his first documentary on Marcel Duchamp. From 1979 until 1998, he worked as director and producer for the Arts Department of the Flemish Belgian Television (the former BRTN). He was amongst a handful of truly innovative directors working in television, creating new forms for increasingly complex ideas. Decostere approached the television medium as a serious platform for his specific ideas about media analysis, structural experimentation and video-graphic creation. In his documentaries he became increasingly critical of the medium he employed, a form of essay in which he responded to codes that uphold mainstream television programming. His television documentaries include productions for Belgian Television BRTN, co-productions for the Banff Center for the Arts, CBS, Channel Four, INA, NOS, TVE and VPRO.??Central to Decostere’s journey of discovery towards a radical, new visual language was his creative use of editing. Because of this, even today, his documentaries remain more than a report about their subject. Unlike ‘normal’ television productions, for the viewer, Decostere’s programmes offer a challenge. Because they approach themes and subjects from several perspectives, or offer an opportunity for reflection and introspection, they force the viewer to take an active stance.
Thomas Zummer is an independent scholar and writer, artist and curator. He is the author of articles on mediation and virtuality, including “Projection and Dis/embodiment: Genealogies of the Virtual,” in Into the Light: The Projected Image in American Art 1964-1977,” Chrissie Iles, ed., Whitney Museum of American Art/Harry Abrams, “Arrestments: Corporeality and Mediation,” in Suturas y fragmentos: Cuerpos y territories en la ciencoa-ficción/Stitch and Split: Bodies and Territories in Science Fiction, Nuria Homs, Laurence Rassel, eds., Fundacion Antoni Tapies/Constant vzw, Barcelona/Brussels, and “Variables: Notations on Stability, Permeability, and Plurality in Media Artifacts,” in Saving the Image: Art After Film, ed. Tanya Leighton, Pavel Buchler, [Glasgow and Manchester: Center for Photography/Glasgow and Manchester Metropolitan University]. Other publications include an e-book entitled “What the Hell is That?” (Beehive, 2000) an experimental and humorous look at the rhetoric of cinematic monstrosity; he has also written essays on Eleanor Antin, Vik Muniz, Leslie Thornton, Heleen Decuininck, Harun Farocki and others, and he is currently completing a book on photography, and working on Intercessionary Technologies: Database, Archive, Interface, a study of the early history of reference systems. In 1994 Mr. Zummer curated CRASH: Nostalgia for the Absence of Cyberspace, with Robert Reynolds, one of the first major exhibitions to have a significant portion of digital/online works and works in/as other forms of transmission. He and Mr. Reynolds also edited the book accompanying the exhibition. Mr. Zummer has also curated exhibitions at the Wexner Center for the Arts, CinéClub/Anthology Film Archives, Thread Waxing Space, the Katonah Museum of Art, and the Palais des Beaux-arts/Brussels In 1995 Thomas Zummer won 5th Prize in the ACA/CODA Architectural Design Competition for the City of Atlanta for the 1996 Olympics. Thomas Zummer’s drawings, media, and sculptural works have shown worldwide, with recent exhibitions at the Museum van Hedendaagse Kunst/Antwerpen, Fundacio Antoni Tapies, Barcelona, Mütter Museum, Philadelphia, Frederieke Taylor Gallery, Marcel Sitcoske Gallery, and White Box. Thomas Zummer is a frequent lecturer on philosophy, aesthetics, and the history of technology, and has taught at Brown University, New York University, The New School, the Transart Institute/Linz, and Tyler School of Art/Temple University. He is currently a Regular Visiting Professor in the Transmedia programme/post-graduate at the Hogeschool Sint-Lukas/Universite Leuven in Brussels, and Faculty in Philosophy at the Europäische Universität für Intisziplinare Studien/European Graduate School (EUFIS/EGS), Saas-Fee, Switzerland. Thomas Zummer currently lives and works in Brooklyn, NY.
Keith Sanborn is a media artist, theorist and translator based in New York. His work has been the subject of a number of one-person shows and has been included in major survey exhibitions such as the Whitney Biennial (twice), and festivals such as OVNI (Barcelona), Video Vortex, The Rotterdam International Film Festival, EMAF, and Oberhausen.
His theoretical work has appeared in publications ranging from Artforum and Kunst nach Ground Zero to exhibition catalogues published by MoMA (New York), Exit Art, and the San Francisco Cinematheque. He has translated into English the work of Guy Debord, Georges Bataille, Lev Kuleshov, Esther Shub, Paolo Gioli and Napoleon, among others.
He teaches at Princeton University and the Milton Avery Graduate School in the Arts of Bard College. In 2008, he taught at Smolny Institute in St. Petersburg on a Fulbright Fellowship while researching media in Russia.
Remake/Remodel 1: Thomas Zummer presents Stefaan Decostere
Image by uniondocs
Part 1: Screening
Warum Wir Männer die Technik so lieben/Why We Men Love Technology So Much
(1985, 57 minutes, color, sound, video, produced by BRTN/Belgian television)
A program on war, technology and perception, with interviews with Paul Virilio, Jack Goldstein, and Klaus vom Bruch
Lessen in Bescheidenheid/ Lessons in Modesty (selections from)
(1995, 90 minutes, color, sound, video)
Decostere looks at the inherent paradox in the conception of the future by scientists from the San Francisco area, who praise the merits of an on-line virtual community which will ultimately allow users to never leave the periphery of their neighbourhoods. In ‘Lessons in Modesty’, artists are made to experience and comment on the fiction of empowerment through high technology. Clearly two models of artists are set up before us. There are those who come out of studios, taking their work to in situ performance spaces, away from art institutions which are still suspicious of high tech, using their bodies as sites and receptacles of the techno-experience. And there are those whose studios are corporations such as Xerox and NASA, and who project a distance from the body. The first category addresses issues touching the materiality of the body head on. The second category is invested with a mission, a task: constructing a new time for a new body. This task is neither sacred nor profane; it is divine creation itself and the Mecca is the American West Coast.
Part 2: Seminar
Index, Affect, Artifact: Philosophical Aspects of Documentary Practice
‘Machines for seeing modify perception.’ -Paul Virilio
This seminar will examine contemporary accounts of documentary from a philosophical, critical and theoretical perspective, starting with early accounts, inherited from photographic practices, of the indexical relation between the media apparatus, the world, and media artifacts. From Walter Benjamin to Friedrich Kittler, via Bergson, Deleuze, Foucault, Virilio, Stiegler, Bolz, Derrida, and others, the philosophical interrogation of technically reproduced ‘realism’ circumscribes an immensely complex, rich, and roductive field. We will discuss aspects of a contempory theory of mediation/remediation by looking firsthand at a variety of works and excerpts. We will also discuss texts by Jay Leyda, Joris Ivens, Theodor Adorno, Giorgio Agamben, and others. References and Reading lists will be made available in class.
screenings of excerpts:
—Land Without Bread, Luis Buñuel
—Arbeiter Verlassen die Fabrik/Workers Leaving the Factory, Harun Farocki
—Videogramme Einer Revolution/Videograms of a Revolution Harun Farocki/Andrei Ujica
—CBS News, Dan Rather in China (broadcast television)
Stefaan Decostere studied film direction at the National Film School RITS in Brussels. Finishing in 1978, he directed his first documentary on Marcel Duchamp. From 1979 until 1998, he worked as director and producer for the Arts Department of the Flemish Belgian Television (the former BRTN). He was amongst a handful of truly innovative directors working in television, creating new forms for increasingly complex ideas. Decostere approached the television medium as a serious platform for his specific ideas about media analysis, structural experimentation and video-graphic creation. In his documentaries he became increasingly critical of the medium he employed, a form of essay in which he responded to codes that uphold mainstream television programming. His television documentaries include productions for Belgian Television BRTN, co-productions for the Banff Center for the Arts, CBS, Channel Four, INA, NOS, TVE and VPRO.??Central to Decostere’s journey of discovery towards a radical, new visual language was his creative use of editing. Because of this, even today, his documentaries remain more than a report about their subject. Unlike ‘normal’ television productions, for the viewer, Decostere’s programmes offer a challenge. Because they approach themes and subjects from several perspectives, or offer an opportunity for reflection and introspection, they force the viewer to take an active stance.
Thomas Zummer is an independent scholar and writer, artist and curator. He is the author of articles on mediation and virtuality, including “Projection and Dis/embodiment: Genealogies of the Virtual,” in Into the Light: The Projected Image in American Art 1964-1977,” Chrissie Iles, ed., Whitney Museum of American Art/Harry Abrams, “Arrestments: Corporeality and Mediation,” in Suturas y fragmentos: Cuerpos y territories en la ciencoa-ficción/Stitch and Split: Bodies and Territories in Science Fiction, Nuria Homs, Laurence Rassel, eds., Fundacion Antoni Tapies/Constant vzw, Barcelona/Brussels, and “Variables: Notations on Stability, Permeability, and Plurality in Media Artifacts,” in Saving the Image: Art After Film, ed. Tanya Leighton, Pavel Buchler, [Glasgow and Manchester: Center for Photography/Glasgow and Manchester Metropolitan University]. Other publications include an e-book entitled “What the Hell is That?” (Beehive, 2000) an experimental and humorous look at the rhetoric of cinematic monstrosity; he has also written essays on Eleanor Antin, Vik Muniz, Leslie Thornton, Heleen Decuininck, Harun Farocki and others, and he is currently completing a book on photography, and working on Intercessionary Technologies: Database, Archive, Interface, a study of the early history of reference systems. In 1994 Mr. Zummer curated CRASH: Nostalgia for the Absence of Cyberspace, with Robert Reynolds, one of the first major exhibitions to have a significant portion of digital/online works and works in/as other forms of transmission. He and Mr. Reynolds also edited the book accompanying the exhibition. Mr. Zummer has also curated exhibitions at the Wexner Center for the Arts, CinéClub/Anthology Film Archives, Thread Waxing Space, the Katonah Museum of Art, and the Palais des Beaux-arts/Brussels In 1995 Thomas Zummer won 5th Prize in the ACA/CODA Architectural Design Competition for the City of Atlanta for the 1996 Olympics. Thomas Zummer’s drawings, media, and sculptural works have shown worldwide, with recent exhibitions at the Museum van Hedendaagse Kunst/Antwerpen, Fundacio Antoni Tapies, Barcelona, Mütter Museum, Philadelphia, Frederieke Taylor Gallery, Marcel Sitcoske Gallery, and White Box. Thomas Zummer is a frequent lecturer on philosophy, aesthetics, and the history of technology, and has taught at Brown University, New York University, The New School, the Transart Institute/Linz, and Tyler School of Art/Temple University. He is currently a Regular Visiting Professor in the Transmedia programme/post-graduate at the Hogeschool Sint-Lukas/Universite Leuven in Brussels, and Faculty in Philosophy at the Europäische Universität für Intisziplinare Studien/European Graduate School (EUFIS/EGS), Saas-Fee, Switzerland. Thomas Zummer currently lives and works in Brooklyn, NY.
Keith Sanborn is a media artist, theorist and translator based in New York. His work has been the subject of a number of one-person shows and has been included in major survey exhibitions such as the Whitney Biennial (twice), and festivals such as OVNI (Barcelona), Video Vortex, The Rotterdam International Film Festival, EMAF, and Oberhausen.
His theoretical work has appeared in publications ranging from Artforum and Kunst nach Ground Zero to exhibition catalogues published by MoMA (New York), Exit Art, and the San Francisco Cinematheque. He has translated into English the work of Guy Debord, Georges Bataille, Lev Kuleshov, Esther Shub, Paolo Gioli and Napoleon, among others.
He teaches at Princeton University and the Milton Avery Graduate School in the Arts of Bard College. In 2008, he taught at Smolny Institute in St. Petersburg on a Fulbright Fellowship while researching media in Russia.
Check out these edit image images:
Mini Eaton Centre
Image by .Uvitra.
Just a quick T/S edit of Lytfyre's image Eaton Centre
This photo was so perfect for a T/S I couldn't resist.
Dibrary: Media Editing Zone
Image by Mosman Library
"The Digital Editing Zone provides diverse media editing programs that are dedicated to editing videos and images."
About this photo: when in Seoul, one of our library staff members took the opportunity to visit the National Digital Library of Korea. Dibrary is the world’s first hybrid library combining digital and analogue ideas. Dibrary consists of “Dibrary Portal,” a virtual space, and a physical service space called “Dibrary Information Commons”. - About Dibrary
A few nice christmas photo cards images I found:
PHTO0116 - Playing Card
Image by Maggie Mbroh, joeyjorie
Digital Camera
Some cool edit image images:
VDB 123 Wallpaper
Image by sjrankin
Mt. Lemmon SkyCenter image of the nebula VDB 123.
Adam Block/Mount Lemmon SkyCenter/University of Arizona
Sun Flare
Image by jball359
*Edit: converted to sRGB
A few nice photo editing online images I found:
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
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
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 stock image images:
Vertigo
Image by Konvolinka Photography
A little intentional in-camera blur on a foggy morning. I invite you to look at this image large and in Lightbox(press "L") you will enjoy the subtle blur much more.
Sunset by the Pier
Image by Konvolinka Photography
I drove up to the Golden Gate for some sunset pictures but the sky's were pretty clear and there were about 5.3 million people around so instead of crossing into the Marin Headlands I turned around and headed back home to Pacifica where I think I captured some nice sunset images. All three images are pretty much straight out of the camera. A few minor adjustments. Thanks so much for looking!!
My official website and link to my blog is Here
A few nice cat image images I found:
Cat's Eye Nebula Hangs in Space (NASA, Chandra, 7/30/08)
Image by NASA's Marshall Space Flight Center
This composite of data from NASA's Chandra X-ray Observatory and Hubble Space Telescope is a new look for NGC 6543, better known as the Cat's Eye nebula. This famous object is a so-called planetary nebula that represents a phase of stellar evolution that the Sun should experience several billion years from now.
Image Credit:
X-ray: NASA/CXC/SAO; Optical: NASA/STScI
Learn more/larger image:
www.nasa.gov/mission_pages/chandra/multimedia/photos08-09...
p.s. You can see all of our Chandra photos in the Chandra Group in Flickr at: www.flickr.com/groups/chandranasa/ We'd love to have you as a member!
Arlo: Smug cat, or lion?
Image by DirtBikeDBA (Mike)
When this image first came off of the camera, it looked like: Smug cat is very smug.
After color balancing it, he looks like a blue eyed lion. He's still a sweet boy, either way.
Some cool photo archive images:
Drawing Room - Mauretania
Image by Tyne & Wear Archives & Museums
Heres a view of the second-class drawing room on the RMS Mauretania.
The Mauretania was built by the shipbuilders Swan Hunter and Wigham Richardson Ltd, at the Wallsend shipyard and was one of the most famous ships ever built on Tyneside.
Ref: TWAS:DS.SWH/4/PH/7/6/29
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.
Onboard the Mauretania
Image by Tyne & Wear Archives & Museums
A view of the deck onboard the Mauretania, with a young boy and girl skating along the deck.
The Mauretania was built by the shipbuilders Swan Hunter and Wigham Richardson Ltd, at the Wallsend shipyard and was one of the most famous ships ever built on Tyneside.
Ref: TWAS:DS.SWH/5/3/3/1/46
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.
