Selected Courses on Digital Art-UOWM

2 Μαΐου 2013

SOUND -AUDIOTORY-SYNESTHISIA-sound/advanced electronic sound SEM 3/4-7/8

Filed under: NOTES ON SOUND ART — Ετικέτες: — admin @ 20:30

john cage

the first impression
chaotic-noisy disorganized

Cage originally made his chance decisions by tossing yellow sticks or coins , according to practices described in the I think.


he later found found a more productive way 

  -categories of sounds (urban, wind,……-produced, manually produced sounds(including musical instruments) -what today looks as an easy assignment -recording literally hundred of sounds (barrons) -elements -sound recordings (equipment)

http://www.youtube-nocookie.com/embed/LAVQPUUiBN0?list=PL3A7AD14495922045

get sound forge-vegas// get open source audio programms



j

 
 
 
 

 

R650 All our o the synesthete subjects(S1–S4, ages 23–33, 1 woman) hadnormal visual acuity and no knownhearing or neurological decits. Theirvisually-induced sound perceptionsoccur automatically, cannot be turnedo, and have been experienced oras long as they can remember goingback into childhood. The percepts aretypically simple, non-linguistic sounds(such as beeping, tapping or whirring)that are temporally associated withvisual fashes or continuous visualmotion. Eye movements over astationary scene (retinal motion) donot typically evoke sound. In dailyexperience, all our subjects aregenerally able to distinguish theirsynesthetic sound percepts rompercepts induced by real auditorystimuli, but occasional conusionexists. We reer to this phenomenonas ‘hearing-motion’ synesthesia, eventhough non-moving visual fashesalso trigger sound perception asdemonstrated next.Our goal was to devise a task orwhich hearing-motion synesthesiawould coner a perormance advantage, as this would bestrong objective evidence or theperceptual experience[4]. Typically(in non-synesthetes), people have anadvantage in judging rhythmic patternso sound compared to equivalentvisual rhythmic patterns[7,8]. We thuspredicted that synesthetes wouldperorm better than controls in a taskinvolving visual rhythmic sequencesbecause synesthetes would not onlysee, but also hear the patterns.

The sound ochange: visually-induced auditorysynesthesiaMelissa Saenz and Christo KochSynesthesia is a benign neurological condition in humans characterized by involuntary cross-activation othe senses, and estimated to aectat least 1% o the population[1].Multiple orms o synesthesia exist,including distinct visual, tactile orgustatory perceptions which areautomatically triggered by a stimuluswith dierent sensory properties[1–6],such as seeing colors when hearingmusic. Surprisingly, there has beenno previous report o synestheticsound perception. Here we report thatauditory synesthesia does indeed existwith evidence rom our healthy adultsor whom seeing visual fashes orvisual motion automatically causes theperception o sound. As an objectivetest, we show that ‘hearing-motionsynesthetes’ outperormed normalcontrol subjects on an otherwisedicult visual task involving rhythmictemporal patterns similar to Morsecode. Synesthetes had an advantagebecause they not could not only see,but also hear the rhythmic visualpatterns. Hearing-motion synesthesiacould be a useul tool or studying howthe auditory and visual processingsystems interact in the brain.ASample ‘same’trial:interval 1:interval 2:Sample ‘different’trial:Sample rhythmic sequence composed of flashes or beeps:20050100Time (ms)interval 1:interval 2:p< 0.0001N.S.Controls(n=10)Synesthetes(n=4)B1009080706050   %   c  o  r  r  e  c  tSoundVisionCurrent BiologyFigure 1. Visually-induced auditory synesthesia.(A) Sequences were composed o intermixed long (200 ms) and short (50 ms) duration stimuliseparated by blank intervals (100 ms) similar to Morse code (bars depict stimulus on-times). Thestimuli were either tonal beeps (360 Hz) on sound trials or centrally fashed discs (1.5 deg radius)on visual trials. On each trial, subjects judged whether two successivesequences (either bothsound or both visual) were the ‘same’ or ‘dierent’. (B) Mean perormance (% correct trials) orcontrol and synesthete subjects (+/− SEM). All subjects had good accuracy on sound trials, butsynesthetes dramatically outperormed controls on the otherwise dicult visual trials. Movies osample trials located online at http://www.klab.caltech.edu/~saenz/hearing-motion.html.thereore emerges whereby one othe key unctions o the intact basalganglia is to link positive outcomesto subsequent behaviour, whetherpredominantly cognitive or motorin its demands, and to modiy thisrelationship accordingto motivational state.Supplemental dataSupplemental data are available athttp://www.current-biology.com/cgi/content/ ull/18/15/R648/DC1 AcknowledgmentsThis work was supported by the MedicalResearch Council, Welcome Trust, FWO- Vlaanderen and Strategisch Basisonderzoek.Reerences1. Niv, Y. (2007). Cost, benet, tonic, phasic: whatdo response rates tell us about dopamine andmotivation? Ann. NY Acad. Sci.1104, 357–376.2. Satoh, T., Nakai, S., Sato, T., and Kimura, M.(2003). Correlated coding o motivation andoutcome o decision by dopamine neurons.J. Neurosci. 23, 9913–9923.3. Brown, P., Chen, C.C., Wang, S., Kühn, A.A.,Doyle, L., Yarrow, K., Nuttin, B., Stein, J.,and Aziz, T. (2006). Involvement o humanbasal ganglia in o-line eed-back control ovoluntary movement. Curr. Biol.16, 2129–2134.4. Hamani, C., Saint-Cyr, J.A., Fraser, J., Kaplitt,M., and Lozano, A.M. (2004). The subthalamicnucleus in the context o movement disorders.Brain127, 4–20.5. Frank, M.J., Seeberger, L., and O’Reilly, R. C.(2004). By carrot or by stick: Cognitivereinorcement learning in Parkinsonism.Science 306, 1940–1943.6. Shohamy, D., Myers, C.E., Onlaor, S. Grossman,S., Sage, J., Gluck, M.A., and Poldrack,R.A. (2004). Cortico-striatal contributions toeedback-based learning: Converging datarom neuroimaging and neuropsychology.Brain127, 851–859.7. Kemp, F., Brücke, C., Kühn, A.A., Schneider,G.H., Kupsch, A., Chen, C.C., Androulidakis, A.G., Wang, S., Vandenberghe, W., Nuttin, B.,et al.(2007). Modulation by dopamine o humanbasal ganglia involvement in eedback controlo movement. Curr. Biol.17, R587–R589.8. O’Doherty, J., Dayan, P., Schultz, J.,Deichmann, R., Friston, K., and Dolan, R.J.(2004). Dissociable roles o ventral and dorsalstriatum in instrumental conditioning. Science 304, 452–454.9. Wrase, J., Kahnt, T., Schlagenhau, F., Beck, A.,Cohen, M.X., Knutson, B., and Heinz, A. (2007).Dierent neural systems adjust motor behaviorin response to reward and punishment.Neuroimage 36, 1253–1262.10. Tricomi, E.M., Delgado, M.R., and Fiez, J.A.(2004). Modulation o caudate activity by actioncontingency. Neuron41, 281–292.1Department o Neurology and2Departmento Neurosurgery, Charité-University MedicineBerlin, CVK, Berlin, Germany.3SobellDepartment o Motor Neuroscience andMovement Disorders, Institute o Neurology,London, UK.4Department o Neurosurgery,Kings College Hospital, Denmark Hill, London,UK.5Department o Physiology, Anatomy andGenetics and6Department o NeurologicalSurgery, Radclie Inrmary, Oxord, UK.7Department o Neurology and8Neurosurgery,Katholieke Universiteit Leuven, Belgium.E-mail:p.brown@ion.ucl.ac.uk

30 Απριλίου 2013

da-maya-mel

Filed under: MAYA — admin @ 10:13
maya software (g.   ?)

open maya- open maya window- primitives-code
(mention vrml)

*from wiki which is a great open source library …unfrtntly maya isnt

mel

The Maya Embedded Language (MEL) is a scripting language used to simplify tasks in Autodesk’s 3D Graphics Software Maya. 
Most tasks that can be achieved through Maya’s GUI can be achieved with MEL, as well as certain tasks that are not available from the GUI. MEL offers a method of speeding up complicated or repetitive tasks, as well as allowing users to redistribute a specific set of commands to others that may find it useful.
MEL is syntactically similar to Perl and Tcl. 
It provides some memory management and dynamic array-allocation, and offers direct access to functions specific to Maya. The majority of standard Maya commands are default MEL scripts, saved in the Maya Program Files directory.
MEL is fairly limited compared to mainstream scripting languages. Mel is primarily a language meant to journal the Maya session, thus lacks many advanced features such as associative arrays. Python was added to Maya as an alternative to MEL in Maya 8.5. Still MEL offers some advantages to Python:
  • Discoverability of MEL is better since the built-in command echo server was created with MEL in mind.
  • A lot of legacy code and inner working of Maya is in MEL form. This provides many insights into undocumented inner workings of Maya.
MEL is often criticized for its lack of programming features, and object orientation. In practice however MEL is used as a metaprogramming language where MEL just instructs Mayas node architecture to solve the problem. 
Since nodes form the actual computational core of Maya using a more robust readily apparent programming method would be many times the wrong approach. In many ways MEL complements the Maya API, with somewhat clear boundaries between allocated tasks. This makes MEL harder to learn and fully understand.

Applications of MEL

The tools designed using MEL Scripts generally come under the following categories.
  • Data I/O
  • Motion capture data import
  • Proprietary game data export
  • Scene meta-data for production tracking
  • Geometry creation/modification
  • Custom primitives
  • Third-party renderer specific data type (e.g., RenderMan sub-divisional surfaces)
  • Modeling tools not offered in the base package
  • Animation tools
  • Muscle simulators
  • Rigging/setup controls
  • Crowd AI behavior
  • Lighting /rendering tools
  • Automatic creation of common complex shader setups
  • Pre- and post-render effects
  • Making calls to third-party renderers
  • Dynamics
  • Custom particle behavior
  • Simulated object emergent flocking and swarming
  • Genetic algorithms
  • Cloth simulation
  • File and folder scene setup and maintenance
  • User interface customization
  • Custom character controls
  • Removal of invalid Maya commands
  • Custom UIs

[edit]Example

This is an example of a script which copies a selected object through its path:
// animated duplicates/instances script
proc animatedDuplication (int $rangeStart, int $rangeEnd, int $numOfDuplicates, int $duplicateOrInstance)
{
    int $range_start = $rangeStart;
    int $range_end = $rangeEnd;
    int $num_of_duplicates = $numOfDuplicates;
    int $step_size = ($range_end - $range_start) / $num_of_duplicates;
    int $i = 0;
    int $temp;

    currentTime $range_start;     // set to range start

    string $selectedObjects[];    // to store selected objects
    $selectedObjects = `ls -sl`;  // store selected objects
    select $selectedObjects;

    while ($i <= $num_of_duplicates)
    {
        $temp = $range_start + ($step_size * $i);
        currentTime ($temp);
        // seleced the objects to duplicate or instance
        select $selectedObjects;
        if($duplicateOrInstance == 0)
        {
            duplicate;
        }
        else
        {
            instance;
        }
        $i++;
    }
}
 // Usage example:
 //  duplicate the current selection 5 times -- 
 //  evenly distributed between frame 1 and 240
 animatedDuplication(1, 240, 5, 0);

Maya Links
WarpCat, 26 July 2012 (created 1 July 2007)
Quality links you should know about, having to do with Maya, and mel:
‘Official’:

These sites appear to be down, or lost to the Autodesk takeover.

‘Unofficial’:
‘Books’
http://artixel.wordpress.com/category/mel/

29 Απριλίου 2013

Hybrid City-ROUTES-EXERCISE

Filed under: Notes — admin @ 19:04
http://empedia.info/contact

http://www2.media.uoa.gr/hybridcity/

Dear Madam or Sir
My name is Vasileios Bouzas
and I am working as an adjunct lecturer at the University of Western Macedonia-Greece
where I teach a media class. One of the main practices of the course is recording and ellaborating the urban digital material.
I am writting  to ask your permission and instructions in order to  add some of  content to Empedia
thanks in advance
sincerely
vasileios bouzas

About

What: Hybrid City is an international biennial event dedicated to exploring the emergent character of the city and the potential transformative shift of the urban condition, as a result of ongoing developments in information and communication technologies (ICTs) and of their integration in the urban physical context. After the successful homonymous symposium in 2011, the second edition of Hybrid City has grown into a peer reviewed conference, aiming to promote dialogue and knowledge exchange among experts drawn from academia, as well as artists, designers, researchers, advocates, stakeholders and decision makers, actively involved in addressing questions on the nature of the technologically mediated urban activity and experience.
The Hybrid City 2013 events also include an online exhibition and workshops, relevant to the theme
When: Hybrid City Conference 2013: Subtle rEvolutions will take place on 23-25 of May 2013.
Where: The Hybrid City II events will take place at the central building of the National and Kapodistrian University of Athens.

http://empedia.info/maps/41

Nikolaos Avouris is a Professor of Software Technology and Human-Computer Interaction in the University of Patras. His research interests include Software Technology and Interactive Systems Design and Human-machine interaction with emphasis in cultural and educational fields. He has special interest and experience in Distributed Intelligent Systems, collaborative systems, usability and accessibility of interactive systems, mobile systems, web applications and services, ap

http://empedia.info/maps/41

“Codes of Disobedience & Dysfunctionality” creates a narrative trail in the centre of Athens, inspired by street posters and the graffiti and taking advantage of mobile communication technologies (GPS, QR codes etc) and the internet. Martin Rieser and the workshop team aim to connect the urban surroundings of Athens to opinions and statements of its inhabitants regarding the challenges imposed by the current social, political, and financial circumstances; Anger, disobedience, opposition, disfunctionality. Participants are invited to follow the project trail and discover the spots where parts of the narrative are hidden. Special QR codes are placed in selected locations of the city and by scanning them with a mobile phone, access to the audiovisual material is given.

Filed under: Notes — admin @ 15:45

by Gabrielle Giattino

With Illusion is a Revolutionary Weapon Loris Gréaud sets in motion a complex system of unattainable experiences. A multi-track exhibition with no center. A vast network of projects spanning continents and collapsing time. Illusion is a Revolutionary Weapon will manifest itself in the binding between projects rather than the discrete events geographically defined by London, Los Angeles, Milan, New York, Tokyo and Vilnius. On city streets, building sites and playing fields, in public parks and gallery spaces, the works will take their start: from there extending and thwarting perception. Spreading through phone lines, radio waves, television emissions and eventually through rumors and hearsay, units of information relating to the project will cross over, run together and cancel each other – obscuring experience.

Rooted in the deceptive potential of the transmission of information, the project – and its title – stems from the 1970 William Burroughs essay, “The Electronic Revolution“, in which the conspiratory capabilities of mass communication and mass confusion are elaborated. Cut-up techniques and the playback of multi-layers of recorded information stand to threaten the comfort of knowledge.

Illusion is a Revolutionary Weapon projects are linked – entangled in a quantum mechanical sense – so that though spatially or physically distant from each other, the discrete forms that exist separately refer to one another: they influence each other and exist in an associated system. Gréaud enables this network as much as the viewers activate it. The impossibility of actually viewing all these projects renders many dark holes in the experience of the Illusion project, but it is the unobtainable complete experience itself which defines the project. One could consider that the project exists in its pure form when not viewed at all, a classic conceptual work – for once illuminated, a project’s potential is diminished.

In Tokyo, with Item Idem and Assistant, Gréaud becomes a director for a building’s destruction. In the style of Gordon Matta-Clark’s first cuttings, a demolition company will be brought in to raze a structure. In opposition the Matta-Clark’s methods, however, instead of keeping the event private – only to be documented by a film crew – the Gréaud project will be attended by seated viewers. Bags will be checked at the entrance and all cameras and recording devices will be off-limits. The only record of this theatrical event will be the anecdotes and experiences of those present, and, perhaps, a mountain of pirate images.

Layers of sound – a voice track that becomes incomprehensible, and then engenders new meaning as if in foreign tongue – is the point of departure for Gréaud’s project in Milan. Transforming the sound of an early Steve Reich tape piece, “It’s Gonna Rain”, into overlapping radio signals, Gréaud will control the light entering and leaving the space through the ten windows of the gallery. Moving electric blinds will mimic the stops, starts and lags of the Reich work. Lapses of sound and meaning are transferring into chaotic emissions, controlling a code of light and dark.

New York will host a kind of switchboard for the Illusion project. A gallery’s answering service will be occupied by Gréaud, working with Karl Holmqvist, for diffusing information in the form of sound projects. Multi-layer recordings on this extended ext-17 project will be available anywhere and be recorded continuously and remotely, from undisclosed locations during the two months of the Illusion project. The non-lieu of the extension project mimics the format of the global Illusion project: with no center, the recordings exist entangled in an undefined space. Following Burroughs, the layers created by the multiple voice tracks will only proliferate the possibility for playback to incite confusion. Information, reports, theories, riddles, noises, lies – swarming aroundIllusion is a Revolutionary Weapon.

My role is the hardest – to describe a project that on principle defies description. Your challenge is clear – listen to the rumors, spread your own, make your theories, build a binding, but bear in mind that limits approach an infinity as values are pinned on position, time and speed. The more light you shed on a moving target, the quicker it escapes you.


Filed under: Notes — admin @ 13:30
circle01@41.37537900219564,2.1861600872216513

sighning in

Filed under: Notes — admin @ 02:36

// that if is the if of not dispayng


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/* 10q339fub5b718xk0pv9lzhpl */


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28 Απριλίου 2013

html 5-js-urban-gelocation html 5-perform-self phycology-autophyco:-)

Filed under: Notes — admin @ 03:05

http://www.youtube-nocookie.com/v/cIOIyfRoGcM?hl=en_US&version=3

http://www.youtube.com/watch?v=jRWGqBUNk_c

1.

2.

3.the html file 

Bucky;s Mebsite

wellcome to thenewboston

kergklje’rgklje’gjklergjmaris

amoremar

marore

lucky

  • video

  • images

  • texts

                                         
4.
p[name^=”bacon”]{color:blue;}

6. pseudo-classes

the structure
div id

paragraph as a chil of the div

we have the class which indicates

at the css file

p:ath-child

p:nth-child(3){color:”green:;}
p:nth-child(odd/even){color:”green/blue;}

7. negation pseudo-class 
all these css thechniques are used to manipulate mainly the fonts the texts the headers the titles etc…

* affect everything   

*{color:blue;}
:not(.bucky) {color:red;}


8 sweet  css3 Selectors (8/53)
http://thenewboston.org/watch.php?cat=43&number=8

div>p{color: green;}

body>p{color: green;}
the p they are childen of body are affected

body>p{color: green;}

p.bucky+p{color;blue;}  it means a paragraph named bucky
so it affects ..

ghkljghkghk



9. 
laying out by using a standard css3
the old style and the new style


<section id
()


-what is section id


10 starting the styling

margin:
padding
h1, h2, h3, h4, h5 
font 

11

header section footer aside nav article hgroup {
display:block;
}

hary saly fery and nad ate hands


10 styling the navigation


12 styling

13…finishing the layout

14 flexible box

….16 finishing the box



Urban Design

0% y/y
Primary Industry: Architecture & Planning
Urban design is the process of designing and shaping cities, towns and villages. Whereas architecture focuses on individual buildings, urban design address the larger scale of groups of buildings, of streets and public spaces, whole neighborhoods and districts, and entire cities, to make urban areas functional, attractive, and sustainable. Urban design is an inter-disciplinary subject that unites all the built environment professions, including urban…
More on ‘Urban Design’ at Wikipedia »flag
See Suggested Skills 

Listed on your profile

Urban Design Professionals

  • Dirk Sijmons

    Dirk Sijmons 3rd

    Curator at International Architecture Biennale Rotterdam
    Dirk Sijmons (M.Sc. Engineering) (b.1949), landscape architect, senior consultant, studied architecture and…
  • Sarah Wigglesworth

    Sarah Wigglesworth 3rd

    Director, Sarah Wigglesworth Architects
    • Pioneering ecological architect with a range of experience of both new buildings and refurbishment projects •…
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    Frits van Dongen 3rd

    Rijksbouwmeester, Chief Government Architect
  • Michel Rojkind

    Michel Rojkind 2nd

    principal at rojkind arquitectos
  • Sunand Prasad

    Sunand Prasad 3rd

    Senior Partner, Penoyre & Prasad
  • Cino Zucchi

    Cino Zucchi 3rd

    Owner, Cino Zucchi Architetti
  • Paul Monaghan

    Paul Monaghan 3rd

    Partner, AHMM
    Paul works on a wide range of projects including masterplanning, arts, educational buildings, housing, offices,…
  • Piet Vollaard

    Piet Vollaard 3rd

    architect, critic, owner/editor in chief of the architecture website archined.nl
    Architect and architectural author/critic since 1985. Teacher at several architecture school in the Netherlands….
More Urban Design Professionals…

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    • 21,375 members
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    Open to all those working in the urban planning and allied professions. Please note that individuals applying to join the group…
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    Founded in 1899, ASLA is the national professional association for landscape architects, representing more than 18,200 members. The…
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http://www.youtube.com/watch?v=siOHh0uzcuY
geolocation samples

Μια ιστορία έρωτα, ενός λεπτού σιγή

Marina Abramovic & Ulay

image

Οι μεγάλοι έρωτες δεν τελειώνουν ποτέ. Ούτε αρχίζουν. Μόνο διαρκούν σε έναν αιώνιο χρόνο κι είμαστε πάντα εκεί γι’ αυτούς. Κι όταν οι εραστές ξανασυναντηθούν είναι σαν χτύπημα. Χαμογελούν αμήχανα, κοιτούν βαθιά στα μάτια, κουνάνε το κεφάλι κάνοντας νεύμα με το βλέμμα να ξεχειλίζει δάκρυα και τρυφερότητα. Μένουν σιωπηλοί για ένα λεπτό, συγκινημένοι, κι έπειτα αγγίζονται, κρατούν σφιχτά τα χέρια ο ένας του άλλου και λένε αντίο. Και παίρνει λίγη ώρα μέχρι να μπορέσουν ξανά στα μάτια να κοιτάξουν κάποιον άλλο…
Marina Abramovic & Ulay. Ένας μεγάλος έρωτας τη δεκαετία του ’70-80. Δύο ανατρεπτικοί καλλιτέχνες. Μαζί έκαναν πολλές παράξενες performances στην προσπάθειά τους να χαρτογραφήσουν τα όρια της αγάπης και της συμβίωσης μέσω της ζωντανής αναπαράστασης, προσπαθώντας παράλληλα να τοποθετήσουν την performance ως τέχνη ισάξια με τις υπόλοιπες. Ακόμα και το χωρισμό τους έτσι τον έζησαν. Περπάτησαν οι δυο τους για πολλές μέρες κατά μήκος του Σινικού Τείχους από αντίθετες πλευρές και συναντήθηκαν στη μέση. Αγκαλιάστηκαν και δεν ξαναείδαν ποτέ ο ένας τον άλλο… Μέχρι την αναδρομική της έκθεση στο Μουσείο Σύγχρονης Τέχνης στη Νέα Υόρκη 30 χρόνια μετά (τον Μάιο του 2010). Στο «The Artist is Present»*, τη μεγαλύτερη και πιο απαιτητική της performance, η ιέρεια της σύχρονης τέχνης παρέμεινε για τρεις μήνες απαθής σε μια καρέκλα. Για 7.30 ώρες τη μέρα καθόταν ακίνητη, χωρίς να έχει το δικαίωμα να πιει, να φάει ή να κάνει οτιδήποτε, και οι επισκέπτες μπορούσαν να καθίσουν απέναντί της σιωπηλοί για ένα λεπτό. 750 χιλιάδες άνθρωποι χάθηκαν στο βλέμμα της. Ανάμεσά τους, χωρίς εκείνη να το γνωρίζει, ήταν και ο Ulay…


thinking about the hollidays we dont have
maybe we dont diserve to have them
maybe it a terrible bourgouis kataloipo to think
that you can have the ability to go therte
thinking about the consumming of energy
the alive personal produstions of garbage
anykind of bargages bargages from the toilet garbages from the kitchen
distorted and polluted depressed scary and ghosty weather that draws pnige my selfappreciastion
———————————————————————————————-
and suddenly thousand of stars that work the bright blue on Vaadhoo
a light xali from bright illusions 
a lighted dream of perfectness and beauty
the eros is coming due to the lonlyness
that is the reason to knock the door of the bordel what ever bordel is this
and there are many of them
not to elliminate their offerings
not to underestiate the holliness of the prostitute
a holliness that always keeps the signs of the illness
a serious travma on humans blood
The scinery we all live 
the scinery that comes out by the   

Bioluminescence, Maldives
The Maldives tide turned electric blue (Picture: Doug Perrine/Barcroft Media)

The bright blue glow came from the beach on Vaadhoo Island after local plankton reacted with oxygen in the sea water to produce a light brighter than the Milky Way.
The natural phenomenon, called ‘bio-luminescence’, is hardly ever seen close to land and was captured by photographer Doug Perrine on a trip to the Indian Ocean.
He told AOL: ‘This picture was taken on a starry, but moonless night.
‘Each small wave lapping onto the shoreline was lit up like sheets of lightning.
‘The plankton creating the light show was concentrated along the edge of the beach. The organisms creating it were large enough to be seen with the naked eye.’
Expert Peter Franks explained the phenomenon, saying: ‘When jostled, each organism will give off a flash of blue light created by a chemical reaction within the cell.
‘When billions and billions of cells are jostled — say, by a breaking wave — you get a seriously spectacular flash of light.’
The rare phenomenon is usually only seen further away from land when ships stir up the sea bed.


27 Απριλίου 2013

photography-poets thesaloniki

Filed under: Notes — admin @ 23:43
http://www.flickr.com/groups/homemadelens/discuss/72157622612617105/

Νυχτερινή ηδυπάθεια (Ντίνος Χριστιανόπουλος)


Μάριος Τόκας & Ανδρέας Νεοφυτίδης, Λεηλάτησέ με
(τραγούδι: Χάρις Αλεξίου & Γιάννης Πάριος / δίσκος: Στη λεωφόρο της αγάπης (1987))
Νυχτερινή ηδυπάθεια
Εχτές είδα στον ύπνο μου πως ήρθες,
αγέλαστος και σκοτεινός και μ’ άδραξες
βίαια και τραχιά, κι ύστερα μ’ έσερνες
μες σε λιμάνια σκοτεινά κι άδειες πλατείες,
μέχρι που το χακί χιτώνιό σου
στρατός πολύς έγινε, που περνούσε,
στρατός πολύ, που με ποδοπατούσε,
στρατός, που με συνέθλιβε κάτω απ’ τις αρβύλες του,
καθώς εβάδιζε άλκιμος· κι εγώ είχα λιώσει,
κουρέλι είχα γίνει, κι ήμουν ένα
με την καυτή την άσφαλτο, που δέχονταν
τ’ αποτυπώματα απ’ τις άπειρες αρβύλες.
Και τότε ήταν, μες στην τόση μου εκμηδένιση,
που εδίψησέ σε, Κύριε, η ψυχή μου.
Από τη συλλογή Ξένα γόνατα (1954) του Ντίνου Χριστιανόπουλου
Πηγή: Ντίνος Χριστιανόπουλος, Ποιήματα (εκδόσεις Ιανός, Θεσσαλονίκη, 2004)

Filed under: Notes — admin @ 23:31

Filed under: Notes — admin @ 21:12

αποτέλεσμα απο προχειρη κατασκευή (mdf) πανοραμικης κεφαλής.

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