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professional-cinephile · 9 months

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Zach Lenardo’s strong run gave him a rousing win in 602 Crate Modifieds at Mahoning Valley Speedway

Two months ago when Edison NJ’s Zach Lenardo won his career first 602 Crate Modified feature at Mahoning Valley Speedway he was the benefactor of then leader Nick Baer misfortune of being bumped out of the front spot with six laps to go and inheriting the lead. He went on to claim the victory from there.

Fast forward 90 days and Lenardo was again behind Bear only this time he proved himself not by luck but talent. Lenardo started third and was quickly tucked in behind Bear at the outset while never letting the leader get any type of distance on him.

Matter of fact Lenardo was able to pull even with Baer by the seventh tour and two laps later take over the lead but the next time by it went right back to the No. 41. Not about to give in Lenardo returned the favor on Baer on the ensuing circuit and was then able to pull away after solidifying the lead. He was on cruise control the rest of the way, going unchallenged on his way to a solid second win.

“It was fantastic to get this win and I was just so focused. We worked on the car all week to get ready for tonight. We knew it would be tough with the competition we have in this class but all the hard work and hours paid off,” said the 16-year old Lenardo.

Although this is only his second time in Victory Lane with a stock car, winning is nothing new for Lenardo who comes out of Quarter Midgets with a boatload of victories. The close action between him and Baer carried him back to those days.

“That really brought me back to how we raced in Quarter Midgets battling like that back and forth almost every lap. You have to have respect and we do but there’s a limit too,” he noted.

“In the heat race we put an older tire (left rear) on and it really didn’t work out and then for the feature we changed it and it really settled down for us and it stuck great to the track,” he continued.

“This 602 class is so tough and there’s a lot of good drivers and when you have that you need to keep on your game. This was great too to win again here at Mahoning Valley, it’s where I started my stock car career and this is my home track.”

Baer was able to hold on for second tough in the closing laps a trio of cars came upon him with Bobby Jones racing side-by-side with Brody George and tucked in closely with them was Greyson Ahner.

Mark Hudson swept the night with the Late Models from his heat and onto the feature, leading every lap of the night in the process.

It was the second time winning this year for Hudson who bested Brian Romig Jr. Both drivers are now tied for the lead in the point standings.

Austin Santee picked his first Street Stock win in 12 years in the make-up July 15 feature. Santee was able to lead up until one lap to go when Cody Geist made a bold move for the top spot inside of Turn 3 and took the checkers first.

However, his pass was made to far inside the designated race area parameters and he was relegated back to second spot, giving Santee the victory, his first since September 17, 2011.

In the regular feature Randy Ahner Jr., was just way too good over the rest of the pack en route to his first win of the season. Ahner Jr., unseated Todd Ahner for the lead after 10 laps complete and then dusted the field with no one in his sight by the time he reached the checkers over Eric Kocher.

There has now been 11 different winners in 12 races thus far with the Street Stocks.

Race #3 of the Evergreen Raceway/Mahoning Valley Speedway Dual Track Series for the 4 Cylinder Stocks/Hobby Stocks took place and in a performance that proves why he is a title contender, Mahoning point leader Cody Boehm won the 40-lap affair over Corey Edelman.

Boehm snagged the lead from early pace setter Scott Adams and then pulled way out ahead to a four-plus second lead before seeing that wiped away due to a caution. On the restart Edelman was alongside and try as me may on that and two more re-go’s, Boehm would not relinquish his spot. Edelman settled for second with Jake Kibler third.

What a birthday present Joe Steigerwalt got from his two kids as Gabrielle Steigerwalt led every lap of the Futures main and won for the third time. Meanwhile her younger brother and point leader Adam passed Caz Takacs at the line making it a one-two finish for the siblings.

Josh Patterson passed Tyler Wagner midway through the ECTQM main and won for the first time with the TQ Midget club at Mahoning. Likewise with Jay Smith who also won for the first time with Modified Micro Stocks.

602 Crate Modified feature finish (25 laps): 1. Zach Lenardo, 2. Nick Baer, 3. Bobby Jones, 4. Brody George, 5. Greyson Ahner, 6. Avery Arthofer, 7. Branden Sullivan, 8. Nick Schaeffer, 9. Deegen Underwood, 10. Makayla Kohler, 11. Paul French Jr.

Late Model feature finish (25 laps): 1. Mark Hudson, 2. Brian Romig Jr., 3. Seth VanFossen, 4. Brooks Smith

Make-up Street Stock feature finish from 7/15 (30 laps): 1. Austin Santee, 2. Cody Geist, 3. TJ Gursky, 4. Randy Ahner Jr., 5. Eric Kocher, 6. Jillian Snyder, 7. Mark Deysher, 8. Jacob Boehm, 9. Jamie Smith, 10. Todd Ahner, 11. Randy Green, 12. Geary Rinehimer Jr., 13. Josh Kuronya, 14. Denis Buss

Regular Street Stock feature finish (30 laps): 1. R. Ahner Jr., 2. Kocher, 3. T. Ahner. 4. Deysher, 5. Geist, 6. Bennett, 7. Gursky, 8. Snyder, 9. Boehm, 10. Santee, 11. Green, 12. Smith, 13. Rinehimer Jr., 14. Kuronya

DTS Hobby Stock feature finish (40 laps): 1. Cody Boehm, 2. Corey Edelman, 3. Jake Kibler, 4. Parker Ahner, 5. Michael Wambold, 6. Travis Solomon, 7. Scott Adams, 8. Micah Adams, 9. Maggie Yeakel, 10. BJ Wambold, 11. Jared Frye, 12. Lyndsay Buss, 13. Don Bauder, 14. James Tout, 15. Jacob Boehm, 16. Nick Schaffer, 17. Mallory Kutz, 18. Shayne Geist, 19. Dave Imler Jr.

Futures feature finish (15 laps): 1. Gabrielle Steigerwalt, 2. Adam Steigerwalt, 3. Chaz Takacs, 4. Sarabeth Mesko, 5. Michael Klotz, 6. Adam Heckman, 7. Al Gildner, 8. Rodney Breiner, 9. Zoe Kuchera

ECTQM feature finish (20 laps): 1. Josh Paterson, 2. Tyler Wagner, 3. Don Zirinski, 4. Jeff Kot, 5. Lexi Przplynski, 6. Richie Coy, 7. Ozzy Carlino, 8. Dave Williams, 9. Graham Hughes, 10. Mark Czervinski, 11. Ken Hirt

Modified Micro Stock feature finish (12 laps): 1. Jay Smith, 2. Tom Ervin, 3. Tyler Wagner, 4. Richie Przybylinski, 5. Mike Haskins, 6. Jim Van Dine

MVS PR

Source

https://sportsworldinfo.com/zach-lenardos-strong-run-gave-him-a-rousing-win-in-602-crate-modifieds-at-mahoning-valley-speedway/">

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mode-julieboehm · 2 years

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Vorschau der vollen Fotostrecke auf Irland

Hallo und willkommen im Wochenende. Ich hoffe du hattest einen tollen Start und bist gesund. Heute poste ich die heiss ersehnte Serie von Irland. Das war eine Shooting Reise im Sommer vor 5 Jahren mit einer Fotografengruppe mit der ich bereits 3x unterwegs war und es nächstes Jahr im März nach Fuerteventura geht. …volle Serie auf Patreon

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#irland #julie boehm #model julie boehm #Portrait #travel

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julieboehm-videos · 2 years

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Galaktische Schlange⁠ 🎇seit heute gibt es auf Patreon ein Vlog mit den Prozessschritten dieses Paintings sowie die PSD Datei der ersten Bearbeitung von mir zum Dowload ^^⁠ Model: Nicola AerialSea⁠ Foto: Helmut Denk⁠ Bodypainting und Bildbearbeitung: Julie Boehm ⁠ 🎇⁠ — view on Instagram https://ift.tt/W01Q5yE

#Instagram #IFTTT

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valiantballooncoffee · 3 years

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Selmer Clarinets Serial Numbers

Selmer USA Clarinet Question. | Sax On The Web Forum

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Clarinet Serial Number Lookup

Serial Numbers - Conn-Selmer, Inc

When was your Selmer Paris Saxophone made?

This is the most accurate Selmer Serial Number Chart on the internet!

Serial number 5071. Full-Boehm model 20. Grenadilla body; German-silver keys, rings, ferrules. 20 keys, 7 rings, rod/pillar mounts. Includes articulated c-sharp 1 /g-sharp 2, forked e-flat 1 /b-flat 2, alternative a-flat/e-flat 2 key, extended low range to written e-flat. Selmer 10G Bb Clarinet. Serial Number X32. (1972) This Clarinet is widely considered to be superior to the Buffet. SOLD - July 2007 To a professional player in the U.K. And here's another 10G that I sold. The agent who handled the transaction for the player had this to say: 'N. Is absolutely delighted with his new Clarinet!

Friend of GetASax.com Douglas Pipher has been given unprecedented access to the Selmer Paris archives, and after thousands of hours of research has compiled a brand new and more Selmer Serial Number Chart for Selmer saxophones. With permission, we have printed the results of his research below.

If you are wanting to sell your Selmer saxophone, we are always buying vintage saxophones. Please email us at [email protected]

Selmer Serial Numbers – a Fresh Approach

Douglas Pipher, June 20, 2017

The existing Selmer Serial Number Chart has been available on the internet for years. Many saxophonists use it as the authority for determining when an instrument was made. But there are problems with the existing chart, such as the timing of the introduction of the different models. It seems unlikely that every new model was introduced exactly at the beginning of a new year. It also seems unlikely that each year’s production ended at a conveniently round number. Was the chart built from specific data or was it just someone’s estimate; a guess which eventually became assumed to be an absolute truth? With these questions in mind, the need for a fresh look became clear, to see if there was a way to measure the accuracy, or inaccuracy, of the existing chart. Douglas Pipher decided to take on the challenge.

Clearly the first step was to collect as much primary data as possible. It is well known that Selmer Paris possesses some archival records but they are not available to the public. With a background in statistical analysis and an established record in the study of Selmer history, Douglas was able to secure access to these archives. Once there, the daunting nature of the task became apparent. The archives are comprised of a series of very old and fragile notebooks, written by a variety of people, in a variety of handwriting styles. Some were neat and detailed and others were nearly illegible and of course, it is all written in French. But, the fact that all the data still existed was like finding a treasure.

The archive records contain four key elements:

– Instrument type (Alto, Tenor etc) – Finish and custom features – Shipping date – Destination

In most cases, there was no mention of what model was being produced. The data started at serial #5000 and continued for over 75 years. Whether earlier notebooks were lost or were never kept is unfortunately unknown.

Prezi presentation. The first phase of the research was to study the records from the beginning up to the end of the Mark VI era. (1927 to 1975) After several trips to Paris and several thousand hours of research and study, the original shipping data was collected and organized. Finally, it was possible to do a detailed study of each year’s actual sales and compare them the to the information suggested in the existing serial number chart.

Let’s take a look at 1927, the earliest year for which full data was available.

The existing serial number chart showed a range from 5601 to 7850. By simple subtraction, 2249 saxophones were allegedly built in 1927. A search of the actual shipping dates for this serial number range revealed the following:

Selmer USA Clarinet Question. | Sax On The Web Forum

Only 1537 saxophones within this range were shipped in 1927. An additional 404 were shipped in 1928 and 27 more were shipped even later than that. Dividing the actual number (1537) by the alleged number (2249) revealed that the serial number range for 1927 was only 68% correct. Clearly, there was room for improvement.

Cached

This process was repeated for each year up to 1975. The average accuracy for the entire existing serial number chart was a disappointing 66%. That’s only two out of three! So about a third of the people using the list got the wrong year for their saxophone. It quickly became obvious that an improved chart was needed.

Fortunately, the primary shipping data could now be used to rebuild the serial number chart from scratch. Beginning with a list of all the actual 1927 sales, they were sorted by serial number. Next, they were grouped into serial number ranges of 100. (5000 – 5099, 5100 – 5199 etc) and the total number of 1927 sales within each group was calculated.

Clarinet Serial Number Lookup

The chart at left shows that less than one quarter of the saxes in the 5000 to 5299 serial number range were sold in 1927. Most were sold in 1926. The range from 7300 to 7800 also showed less than half of the sales in 1927, with most of the remainder being sold in 1928. Between the 5300 and 7299 range, most of the saxes were sold in 1927. This range became the initial boundary for 1927 production. By taking a closer look, right down to individual instruments, the starting and ending points of the range were modified as needed. Casio ctk 710 driver. The most accurate serial number range for 1927 was finalized as 5300 – 7280. Repeating this process for each year up to 1975 resulted in the development of a chart with an average accuracy of 82%. For searches of Alto or Tenor only, the accuracy rose to 86%.

Why is the new chart not 100% accurate? A look at the 1927 chart to the left makes the answer quite clear. As mentioned above, the 1927 range was determined to be 5300 – 7280, so the 1928 serial number range logically started at 7281. But many saxophones from 7300 to 7800 were sold in 1927. The majority of the horns in this range which were sold in 1928, but clearly not all of them. There are many reasons for this. Different distributors had different specifications, which affected delivery times. The US-Market horns, for instance, were not normally engraved, padded or lacquered in France. This meant that US-Market horns shipped earlier than others.

The more unusual types of saxophones, such as the Sopranino or Bass, were often sold months or even years later than one might expect. Individual saxophones with custom finishes or features would naturally take longer to build, thus delaying their completion date. In building as complex an instrument as a saxophone, there are many reasons why and individual sax’s completion date could be delayed by days, weeks or months.

Serial Numbers - Conn-Selmer, Inc

The improved serial number chart is by no means flawless. But it’s does allow for a far greater level of confidence for Selmer owners and enthusiasts. Douglas’ ongoing primary research continues to extend the scope of the improved chart, into the Mark VII range and beyond. Douglas Pipher is a Canadian saxophonist, collector and researcher who has spent the last several years studying Selmer instruments with the goal of improving our understanding of Selmer history through primary research. Spectrasonics keyscape crack mac. He can be reached at: [email protected]

Kenny rogers discography torrent. Emmylou Harris White Shoes. Emmylou Harris - All I Intended To Be. 100 hits of the 80's - 5CD. The Very Best Of Pop Music 1967-1995 (12 CD) 1995. Calvin Harris - 18 Months - 2012. Homepage LP Discography on Facebook. Lyrics: Kenny Rogers. Discography Songs Lyrics Covers gallery. Reprise / Jolly Rogers / (1967 - 1973) The First Edition with The First Edition (. Real Name: Kenneth Ray Donald Rogers. Discography; 546 Releases 68 Albums 157 Singles & EPs 312 Compilations 7 Videos 2 Miscellaneous 2526 Appearances 102 Albums 6. (Country, Pop) Kenny Rogers - Discography 47 albums (ft. Dolly Parton, Dottie West, Kim Carnes, Sheena Easton, The First Edition) - 1976-2015, MP3, 320 kbps.

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guteideen · 3 years

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Wo ist unsere Wildheit hin?

Eine Hommage an Helmut Newton, ein Appell für mehr Wildheit und auch mal ein Schlingel sein dürfen… Happy Bdy zum 100. Geburtstag Mr. Newton ❤

Kennt ihr diese Momente, in denen man nichtsahnend Fernsehen schaut und beim Zappen gebannt irgendwo hängenbleibt? So geschehen am Samstag. Beim Durchschalten flackerten diese unfassbar schönen, grafischen, kraftvollen Fotos von Helmut Newton über den Bildschirm und sofort erwischten mich unerwartet und voller Wucht Erinnerungen und Gefühle an eigene wilde Zeiten im Berlin der 90er in dunklen illegalen Kellerbars in Prenzlauer Berg und Mitte, an ganze Sommer auf den Dächern, Fotoshootings in verlassenen Häusern und Kasernen und Partys, die nie endeten. Newtons Blick fing dieses Lebensgefühl für mich ein. Letztlich ist aus diesem Lebensgefühl auch die heutige ideenmanufaktur GmbH entstanden.

Am 31. Oktober 2020 wäre Helmut Newton 100 Jahre alt geworden. Aus diesem Anlass zeigte 3sat die filmische Liebeserklärung „Helmut Newton - The Bad And The Beautiful“ von Gero von Boehm über diesen Ausnahmekünstler, der unterhalten, provoziert, polarisiert hat, aber auch den Blick für Mode und die Sicht auf Frauen verändert hat. „Er hat die Modefotografie revolutioniert, als es höchste Zeit dafür war. Bis dahin war alles nur schön und lieblich“, erinnert sich von Boehm.

Vor allem die filmische Dokumentation und Interviews mit Models, Schauspielerinnen aber auch seiner Frau June haben mich wieder in eine Zeit entführt, die auf so schmerzhafte Art Vergangenheit ist. Bewusst wurde mir das besonders während der Passagen, wenn Helmut beim Arbeiten gefilmt wurde, wie er Dinge gesehen, bewertet, inszeniert und revolutioniert hat, wie er das gesamte Set geleitet, aber eigentlich mit seiner Persönlichkeit verzaubert hat und alle Anwesenden in eine Stimmung versetzt hat, die man in voller Dimension nur spüren konnte wenn man wirklich dabei war. Und wie er selbst harte Nüsse, wie eine Anna Wintour (Chefredakteurin der US-amerikanischen Ausgabe der Vogue und eine der einflussreichsten Frauen in der Modebranche) so gekonnt um den Finger wickeln konnte, Briefe mit „Ihr Schlingel“ unterzeichnete und ihr damit ein derart verzücktes Lächeln entlocken konnte, wie ich es bei ihr nicht für möglich gehalten hätte.

Und plötzlich war da diese Erkenntnis, was sich in den letzten Jahren oder Jahrzehnten langsam aber unaufhaltsam aus meinem und vielleicht aus unser aller Leben verabschiedet hat und mit Corona und den aktuell verschärften Einschränkungen seinen Höhepunkt (oder Tiefpunkt?) findet – pure Wildheit, ausgelassen sein, Freiräume, Vakuum für Neues, unbändige Lust auf das Leben, Feiern, vereint durch einen Beat, der die ganze Nacht trägt, über die Stränge schlagen, Rausch und Farbrausch, unmittelbar sein, provokant ohne dabei boshaft zu sein, politisch korrekt sein ohne political correctness, Nächte durchmachen ohne ans Morgen denken, fahren ohne Sturzhelm und angeschnallt sein und denken, sprechen und schreiben ohne Gendersternchen.

Unser Leben ist ohne Frage reich, agil, digital und vieles ist gut, gerecht, zeitgemäß, folgerichtig. Mein Eindruck ist dennoch, dass wir wertemäßig sehr einseitig geworden sind. Alles was sicher, gerecht, korrekt ist, darf oder muss sein, wir sind verkopft, brauchen Yoga, Meditation und Achtsamkeitstagebücher weil wir nicht mehr an unsere Gefühle rankommen – Ironie, Spaß, Provokanz, Wildheit, Individualität, die ganze Klaviatur der Gefühle finden zunehmend weniger statt, Sprache wird direkt relativiert oder ist totalitär. Wir propagieren Diversität und ersticken sie gleichzeitig im Keim.

Versteht mich nicht falsch, ich bin eine Gerechtigkeitsfanatikerin, ich bin so weit, zu behaupten, dass ich für Gerechtigkeit und Gleichberechtigung (in alle Richtungen!) kämpfe, aber manchmal fehlt mir das Spontane, das Wilde, das Verbotene, Freiheit, verschieden sein dürfen, Sachen auszuprobieren, auch in der Gefahr, Fehler zu machen, die auf ganz andere Weise Energie geben und uns lebendig werden lassen. Newton hatte Humor. Und Selbstironie. Was hätte er wohl gemacht in diesen Zeiten?

Helmut Newton ist recht früh in mein Leben getreten. Ganz genau kann ich es nicht mehr nachvollziehen, aber es war während meiner Ausbildung zur Damenmaßschneiderin und ich war noch nicht volljährig. Diese schönen, stolzen, starken Frauen, Männer und androgynen Wesen, meist in schwarz-weiß fotografiert, mit starken Kontrasten und grober Körnung haben mich in meiner Jugend schwer beeindruckt und nachhaltig geprägt. Ich wollte so sein wie sie: unantastbar, ungewöhnlich, einzigartig, stark, modern und anders als die anderen. Mainstream war mir zuwider. Verstärkt wurde dies in meiner Zeit am Friedrichstadtpalast und durch mein Umfeld in den Nachwende-Jahren, bestehend aus Künstlern, Tänzern, Schauspielern, Fotografen, Studenten, Journalisten und vielen Nachtgestalten. Durch meine Lehre konnte ich mir meine Anzüge und androgynen Klamotten selbst schneidern und konnte mit jeder Faser meines Körpers die Wildheit leben.

Newton stammte aus einer jüdischen Familie. Seine Jugend verbrachte er in Berlin, wo er bei Yva, der ersten wirklichen Modefotografin seine ersten fotografische Schritte und seine Fotografen-Ausbildung machte. 1938 musste er vor den Nazis aus Berlin fliehen. In Melbourne nahm er die australische Staatsbürgerschaft an, später lebte er in Paris, Monaco und Los Angeles.

Helmut Newton hat unzählige Fotos produziert. Darunter gibt es zahlreiche Nacktaufnahmen. Bei den vielen Fotos der schönen Frauen und den erotisch-provozierenden Motiven wird man leicht verführt, in Newton den großen Verführer zu sehen, der die Frauen reihenweise verführte. Hat er aber nicht. Er hat seine Frau June getroffen, geheiratet und sie als seine Muse gekürt, die ihn Zeit seines Lebens begleitet hat – menschlich, künstlerisch, unternehmerisch.

Eigentlich müssten hier die vielen Frauen zu Wort kommen, mit denen Newton gearbeitet hat. Sie könnten ihn wahrscheinlich viel besser porträtieren. Im Film kommen 10 tolle Frauen zu Wort.

Selbst der Tagesspiegel stellt die Frage, ob man in Zeiten von #Metoo einen Film über den Fotografen Helmut Newton drehen kann. Man kann. Dieser wunderbare Film kommt am 7. Juli 2021 übrigens in die Kinos. Und wem das zu lange dauert, der kann die Outdoor-Ausstellung besuchen. Mit einer 85 Meter langen Fotowand vor dem Kraftwerk in Kreuzberg wird seit Freitag in Berlin an den 100. Geburtstag des Fotografen Helmut Newton (1920-2004) erinnert.

https://www.berlin.de/kultur-und-tickets/nachrichten/6341147-2154924-85-meter-helmut-newton-plakatwand-erinne.html

Foto: © Henry Besser // restliche Fotos © ideenmanufaktur / JJ / JB

Berlin blieb Newton verbunden, 2003 vermachte er der Stiftung Preußischer Kulturbesitz in Berlin sein Werk, seine Newton-Stiftung bespielt damit das Fotomuseum in Berlin. Am Bahnhof Zoo gibt es die ständige Ausstellung zu sehen. Ein bisschen Lebensgefühlt to go. Vielleicht entsteht aber auch ein neues Lebensgefühl – vielleicht wild, gerecht, positiv, kraftvoll, solidarisch, dankbar und ungestüm. Und jemand, der es fotografiert.

Seid wild und wunderbar – momentan eben Zuhause…

Eure Jana

#helmutnewton fotografie lebensgefühl

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lostlevelsclub · 5 years

Audio

Lite Switches, Ultra-Gambling and Dinner for Blowhards

Mike and Ting talk about Joy-Con drift and the new Nintendo Switch, loot boxes and meeting Jonathan Blow.

The “book club” game is: 中国式家长 / Chinese Parents.

Show Notes:

Pre-Chat

Study reveals the most popular emoji in honor of ‘World Emoji Day’

😂 Face With Tears of Joy

😘 Face Blowing a Kiss

Mike’s favourite emoji: 🤷‍♂️😅🤦‍♂️😆🤣

Ting’s favourite emoji: 😘😬😔

Fortnite: UK player finishes second in e-sports World Cup

Fortnite World Cup 2019/Finals

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Out of control police violently shoved woman to the ground

One of the most professional police in the world.

[7.28] Hong Kong Police at its finest 2 (journalists perspective)

How Hong Kong protestors deal with tear gas

Nintendo News

Joy-Con Drift Is Becoming A Real Problem On The Switch

Report: Nintendo Will Fix Broken Joy-Cons For Free, Refund Prior Repairs

Nintendo to fix Joy-Con drift problem for free – but not in the UK

First Look at Nintendo Switch Lite: A New Addition to the Nintendo Switch Family (YouTube)

You'll Be Able To Transfer Save Files Between Switch And Switch Lite, Eventually

What Makes the New Nintendo Switch Model Different: Battery Life, Model Number, and What to Look Out For

The “unpatchable” exploit that makes every current Nintendo Switch hackable [Updated]

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Haribo Bärchen-Pärchen

Kinder Cards

Loot Boxes

'My son spent £3,160 in one game'

Fifa packs and loot boxes 'not gambling' in UK

STUCK ON YOU The history of the iconic Panini stickers as the Italian brand releases new 2018 World Cup collection

FIFA Ultimate Team Features

Video game crash of 1983

GTA Online's new casino update is inaccessible to more than 50 countries

Let’s go whaling: Tricks for monetising mobile game players with free-to-play (YouTube)

Lawful Evil

Cow Clicker

IKEA effect

Bartle’s Player Types for Gamification

Fortnite Save the World X-Ray Llamas let you see what’s inside before purchasing

Dinner with Jonathan Blow

@GameDevHH - Hello Hong Kong developers! We’re excited to say that we’ll be meeting @Jonathan_Blow for dinner tomorrow (Friday, July 19th!)

@Jonathan_Blow - Here's the talk I did in Singapore a couple of days ago. They posted it very quickly!

Industry Day 2019 Live Stream #1 (YouTube)

Jonathan Blow

Braid

The Witness

Slay the Spire

How Slay the Spire's devs use data to balance their roguelike deck-builder

A Programming Language for Games (YouTube)

Jai Programming: Sizzle Reel

Jai Courtney

Garbage collection (computer science)

Opus Magnum

Spelunky

'Braid' creator sacrifices his fortune to build his next game

J. Blow on Prototyping f. Braid Gameplay Footage!

Feynman diagram

Boehm garbage collector

Post-Chat

8 things to know about Neon Genesis Evangelion, the legendary anime now streaming on Netflix

Neon Genesis Evangelion: The End of Evangelion (1997)

Komm, süsser Tod [Lyrics] (YouTube)

Why are the last two episodes of Neon Genesis Evangelion drawn instead of animated?

Rebuild of Evangelion

Evangelion 3.0 + 1.0 First 10 minutes preview High Quality Sub ENG (YouTube)

Download this Episode

#podcast

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ffp-law · 5 years

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$1.4 Million Dollar Personal Injury Verdict In University Of Florida Student Pedestrian Case

On April 4, 2019, after four years and four months of legal battles, Sean T. McFly was finally vindicated by a jury verdict assigning 100% fault to the University of Florida and awarding him $1,411,000.00. McFly, now an alumnus of UF’s College of Veterinary Medicine, was hit on campus in a crosswalk by a UF work truck during his final year as a student. McFly was represented by Julie Aleve Fine and Cherie H. Fine of Fine, Farkash & Parlapiano, the family run personal injury firm, located in the Historic Downtown area of Gainesville, FL.

Still image from surveillance footage the moment before impact.

The Day That Sean’s Life Changed Permanently

On December 4, 2014, McFly was walking to his first class of the day, when a UF work truck driven by a UF employee barreled through the crosswalk, throwing him 18 feet to the concrete. Rushed by EMS to Shands, McFly later learned that he had sustained permanent injuries to his spine as well as other orthopedic injuries. The once healthy and extremely active young man found himself in constant pain, his life now overwhelmed by the need for medical appointments and rehab. McFly’s physical pain and injuries were compounded when UF refused responsibility, blaming him for not getting out of the way quickly enough.

Because of his mounting medical bills McFly found himself needing an experienced legal team, one he found in his legal team at Fine, Farkash & Parlapiano.

Caught on Tape

One of the vital aspects of McFly’s case was a UFPD campus surveillance video that captured the incident. (shown below). However, despite this video evidence, the University’s lawyer contested McFly’s claim at every turn, leading to the long years of litigation that culminated finally in the four-day jury trial in Alachua County.

McFly’s lead litigation attorney, Julie Fine, a double Gator and UF Law graduate herself, was at first incredulous; knowing UF’s own policies espouse a commitment to being safe for students and friendly to pedestrians.

“This case was upsetting – I saw the video and I was in total disbelief. Sean was hit by a University employee—who was on his cell phone and driving—while on campus walking to class in a pedestrian crosswalk. And instead of apologizing or at least checking on Sean, they blamed him and argued that he was never actually hurt,” said Julie Fine.

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Presenting the Case: FFP’s Litigation Experience Defeats University

To help the jury calculate his likely future expenses, his legal team presented the opinions of the physicians who had cared for his injuries, along with a neurologist and biomedical expert, Dr. Richard Boehme. Using the video, and taking into account the truck’s make and model, Dr. Boehme calculated the speed of the truck and the distance traveled. Dr. Boehme further explained to the jury that at impact McFly’s body sustained 1,130 lbs. of force, more than enough force to damage McFly’s cervical spine.

This information, along with property damage photos and objective evidence of McFly’s injuries, showed a clear match between the nature of the collision and his damages. “Injuries like Sean’s will generally worsen over time. He’s young, looking at a life of over 40 years managing pain,” Fine said.

Used at trial, MRI imaging comparison depicted McFly’s deteriorating condition of his cervical spine. Five separate medical experts (including defense experts) testified that there were visible annular tears in McFly’s discs and the soft, jelly-like nuclear material had been and would continue to leak out, causing pain and further permanent nerve damage.

Overnight Sean’s life changed. His pain was incessant, and his time and money centered on his recovery and pain management, receiving steroid injections and physical therapy. But the years of treatment and diligent physical therapy could not change the facts. The accident had caused permanent nerve damage to the right side of his body, his medical experts explained at trial, he would need at least 2 major spinal fusion surgeries over the course of his life to prevent further nerve damage to his right hand.

“What a lot of people don’t realize is that the worst injuries from getting hit by a car or truck may not present right away,” McFly said. “I was grateful to encounter a team that understood what I was going through, and have continued to understand two, three and now four years later.”

McFly continues to pay medical bills to his many medical providers, along with, and ironically, his student loans from the University.

“UF spent over four years claiming that Sean was not really hurt and blaming him for following safety rules, which they ignored,” said Fine.

“They seemed to believe that the rules didn’t apply to them. So in closing I asked the jury ‘to bring back a verdict that said that common sense matters, that the rules apply to everyone, and that Sean T. McFly matters’ and that’s what they did.”

McFly believed in his attorneys and the litigation team at Fine, Farkash & Parlapiano, P.A., and knowing that they believed and were there for him.

“I wish that this had never happened or at least that UF had owned this from the start, but you can’t change the past,” said McFly.

“I am so thankful for Julie, Cherie, and everyone at FFP and I’m just grateful to have a just resolution and finally be able to move forward with my life.”

McFly Injured, UF Protected:Florida Statute 768.28 Caps Amount Owed to $200,000

What most people (and McFly’s jury) are not told is that the $1,411,000.00 jury verdict is not what he’ll get. Although the verdict was the jury’s determination of a fair and reasonable amount for what was needed to compensate McFly, the Florida Law prohibits this amount. Under Florida Statute 768.28, any award from a state agency (like the University of Florida) is capped at $200,000 per person injured or killed and $300,000 per occurrence, if multiple people are injured or killed.

For victims like McFly, the only remaining remedy is a legislative claims bill—a difficult and lengthy process where counsel can petition the state legislature to pass a one-off appropriations bill.

“We live in a country that instills the importance of taking responsibility for one’s actions, here our citizens have to take responsibility for their actions, But UF never took responsibility for hitting their student, in their crosswalk, on their campus, and instead forced Sean and the state to rack up 4 years of costs fighting the claim. If this was really about using state funds wisely, UF could have made a reasonable settlement early on,” said Fine.

The post $1.4 Million Dollar Personal Injury Verdict In University Of Florida Student Pedestrian Case appeared first on Fine, Farkash & Parlapiano, P.A..

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365footballorg-blog · 6 years

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Boehm: Are DC United finally ready to go toe-to-toe with the MLS elite?

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July 25, 20181:11PM EDT

WASHINGTON – D.C. United supporters have always enjoyed lording it over their Atlantic Cup rivals the New York Red Bulls, dating all the way back to that franchise’s previous incarnation as the MetroStars.

While those noisy blue neighbors up in the Bronx have more recently distracted RBNY nation, their antagonism with D.C. is 22 years old – MLS’s first true rivalry, and one that for much of its existence was pretty one-sided. While United won three of the first four MLS Cups and generally set the standard for the fledgling league, “Metro” typically struggled in most every aspect, allowing D.C. supporters to perennially tease their counterparts to the north.

So it was more than a little ironic last week when D.C. GM and VP of soccer operations Dave Kasper pointed to RBNY as a model for United as they go about setting up the comprehensive player development pathway that their long-running (and costly) residency at old RFK Stadium made nigh impossible up to this point.

D.C.’s Bryan Namoff kisses the Atlantic Cup after United won the 2008 season series against the Red Bulls. | Tony Quinn/Getty

Sure, D.C. and the Red Bulls are old enemies, who lock horns in their first Atlantic Cup clash of 2018 – and the second-ever match at United’s new Audi Field home – on Wednesday night (8 pm ET | TV and streaming info). But to borrow a thought from Pep Guardiola, often the best ideas are the ones stolen from elsewhere, and the twin resources of a strong youth academy and a well-run USL team have paid great dividends for RBNY in recent years.

Consider names like Tyler Adams, Aaron Long, Florian Valot – a hefty chunk of the Red Bulls’ current first team has spent time with the Baby Bulls, whether as rising youngsters acclimating to life in the pros or newcomers mastering the high-press system that’s become the club’s calling card.

“We now have a true pathway for area players,” Kasper told reporters at the unveiling of Loudoun United FC, D.C.’s new USL side, which will begin play next year at the club’s new training facility in Leesburg in Washington’s Northern Virginia exurbs.

“As they’re growing up, they have two professional teams to support that are joined at the hip, and there’s a pathway for those players and a vision laid out in front of them of where they can go. We’ve seen in the last few years the MLS teams that have really embraced those USL clubs, how it’s paid off for them with developing young talent faster and with more opportunities.”

A new downtown stadium. New training facility and USL team. New starpower in the form of Wayne Rooney. A newly-created “Director of South American Scouting” position, and other plans for augmenting the technical staff and growing the front office. It’s taken them longer than they planned or hoped, but D.C. United are finally shedding the limitations that kept them from truly punching at their weight in a rapidly-advancing league.

Last time we found a new home. Tonight, we turn it into a fortress. #DCU | #DCvRBNY pic.twitter.com/7tQYJAqcYB

— D.C. United (@dcunited) July 25, 2018

“We’re always looking from a staff and scouting standpoint, to put more quality on the field. That’s usually how you get better teams. It’s not brain surgery,” head coach Ben Olsen told MLSsoccer.com last week. “We’ll continue to push the group we have and look for more quality to enhance the way we play, from an entertainment standpoint but also from a results standpoint.

“This is certainly a step in the right direction, and there’s all types of ways you can get better as a club. And we’ll be checking off those boxes consistently, I think, going forward. And again, making sure we put ourselves in a good position to be in the postseason and ultimately, hold trophies. That’s what we all want to get back to. It’s why we do this, for those nights of joy. But we got a lot of work to do.”

United kept afloat over the past several years via a strategy of bargain-hunting, underrated veterans and pragmatic tactics. Inevitably, that approach hit certain limits when going up against opponents with more resources and infrastructure.

Now they want to not only be a more successful team, but a more aesthetically pleasing one, blending the cultivation of local products – their region is one of the most talent-dense soccer scenes in the United States – with selective overseas acquisitions.

“We’re getting there,” said goalkeeper David Ousted. “This new stadium was a milestone for the club, I think the training facility will be another one. And now it’s up to us players in there to move the club further along. I think there’s still work to be done – this season as well – to push ourselves to the place we want to be, but I definitely see development in this team and this organization.

“We are finding an identity now, I think we’re doing well by that, but I still think there’s a lot to come from this team. There’s more, both on the ball and off the ball, that we can do better. So that’s going to be a battle the whole season, always trying to get better.”

Ben Olsen with D.C. fullback and local product Chris Odoi-Atsem | USA Today Sports Images

In some ways – setting aside their proud history for a moment – D.C.’s task is similar to that of an expansion club. Ousted saw parallels to his previous club, the Vancouver Whitecaps, who were still overcoming the MLS learning curve when he arrived in 2013.

“Vancouver also had to build infrastructure a little bit before that team could move forward and get into the playoffs and be contenders in the West,” he said. “This team, it’s the same thing. We have the chance to be contenders, but there’s work to be done. It’s not going to come easy, especially in a league where there are so many good teams, and so many teams that want to push, push the league higher and further.”

The Black-and-Red expect it will be a multi-year process. Their near-term ambitions are further complicated by the steep hill they must climb to reach playoff contention thanks to this season’s backloaded schedule at Audi Field. And they’re also aiming at a moving target, with the likes of Atlanta United, LAFC and Toronto FC constantly pushing the envelope with big plans and big spending.

That said, they’re aiming for the stars right away, and the old rivals up I-95 provide both a target and a measuring stick.

“The league is moving at a very quick rate,” noted Olsen. “Every year it gets better, more money’s thrown at it. But listen, I got no excuses. I’m not here to say we can’t do this thing this year with the group that we have. I believe in the squad, I think we’ve had a tough road leading up to this point, but if we can take advantage of our home games and keep moving in the right direction, I think we’ll be OK.”

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Boehm: Are DC United finally ready to go toe-to-toe with the MLS elite? was originally published on 365 Football

#Boehm #elite #finally #ready #toetotoe #United

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julieboehm · 9 months

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Apolda UV Nacht 2023 - Vorschau und MDR Beitrags Ausschnitt

Ein tolles jährliches Event ist immer die Apolda UV Nacht Dieses Jahr war auch der MDR Thüringen da

Ein tolles jährliches Event ist immer die Apolda UV Nacht Dieses Jahr war auch der MDR Thüringen da. Für das komplette Journal folge HIER zur ARD Mediathek Mein Makingof vom Bodypainting, Bau der Flügel und mehr Hintegrund Informationen bekommst du bald auf meinem Patreon Kanal Models: Julian & NatalieBodypainting, Flügel, Kostüm, Video Impressionen Anfang: Julie Boehm

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#apolda #bodypainting #mdr #uv

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julieboehm-film · 7 years

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Vor ein paar Wochen hatte “Paris, you got me” Regiesseurin Julie Boehm in der Magic City München eine Live Bodypainting Performance. Sie malte vor einem Kunstwerk von Tristan Eaton “HUMAN (T)ERROR” – Video und Fotos

Some weeks the director of “Paris, you got me” Julie Boehm had a Live Bodypainting Performance at the amazing streetart exhibition Magic City. -here is a video and photos of her performance “HUMAN (T)ERROR”

Julie painted in front of an artwork of Tristan Eaton “HUMAN (T)ERROR”

Model: Irina Vegel Bodypainting Assistant: Thilan Stiller Photographer: Sebastian Rahn & Hans Diepold Bodypainting & Concept: Julie-Boehm.com

Magic City Streetart Exhibition Life Performance by Julie Boehm Vor ein paar Wochen hatte "Paris, you got me" Regiesseurin Julie Boehm in der Magic City München eine Live Bodypainting Performance.

#artist #artperformance #bodypainting #director #exhibition #julie boehm #life performance #magic city #magic city life #munich #Museum #tristan eaton

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molina-a-blog · 7 years

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Ashley Molina

Dr. Murray

Final Paper

5/2/17

Visual culture is set as for how consumers perceive a piece of art and how the audience perceives the similar intentions of the original artist. When an artist creates a piece of art whether on a canvas or creating graffiti on a wall in local neighborhoods, it is important to know the aesthetics behind it and how it can perceive through the culture of these images we study in current day society. Visual Culture lies beyond the intention of the artist and how the expressiveness is appreciated, through one's creativeness in hoping to trigger the audience in a demeanor that may not be familiar to those who can't understand the intention of the art. In visual culture the images and media we use as examples to express our own painting and perceptions of intended ideas. The idea of body paint can be expressive through storylines that often trigger audiences through a material object that can eventually lead to another form of art. A piece of material can set a mood that an artist might want, but won't be perceived correctly enough by an audience. Each individual has their set ideas and interpretations to how a piece of art can be described in their viewpoints. With regards to class discussions, we often personify visual images as being centralized to how we may represent, make meaning, and communicate with the world we are trying to understand the art through. When we overlook an image, we are able to perceive a range of theories on how we may know the varieties of visual media and how images are used to express our individual self to communicating, experiencing pleasures, and learn from these theories. We often contemplate on ideologies considered through visual culture as sustainable amounts of importance when dealt with experiences and association with other media and areas in which inform on the visual images. One of the sets focus is directed to how cultural studies are used as displaying to viewers, citizens, and consumers, the appropriate means of attaining a clear realization of how visual media helps make a believable approach to societies we live in. Visual culture was known as altering promptly, where it was thought as an artistic way that included painting, literature, music, and philosophical views. Culture can be described as the shared practices within a group, community, or society, where such meaning is made up of aural, visual and textual word likeliness. The development of visual culture as a field of application has also been objectified on debate and controversy. Through understanding visual culture, we often study it as a lot of theoretical methods that are applied through comprehending what it meant to be created and is also done through the words before us, and how these critical applications played through their historical context.

In selecting a form of art that sets the mood for an individual before an audience or smaller number of viewers, in a place that seems to strike perceptions as well as contemplating ideas to why the artist might decide on this formality, is something that keeps one pondering on. This form of art is expressed through body paint and how the different scenarios are more efficient in the actual meaning behind the intended significance of the message of the art. When one thinks of body paint, we automatically believe that the individual before us is completely nude and we may categorize that person as a sex symbol, or they may be making use of their body in a sexual way. However, for a body paint model, it often dependent upon the comfortability and whether the artist and model correspond in finalizing their decisions. It is entirely dependent upon how the art is approached, and the matter of being approached in the right way without any one-sided compromise. As the model, it is likely for the individual to know the basic information of the artist, as well as for any live event, the artist sticks around in making sure to be acknowledged by the people before him/her. When it comes to the setting of an intended look or significant achievement, it is likely that the artist might want to focus on art exhibits and avoid any club-like, or non-art exhibits. This way the model used is not set in a mood where they may feel uncomfortable or unordinary. Expressing one's portrayal through art like exhibits compared to art that may be shown in a club-like scene, can have a different feeling compared to be represented in a space where you feel is right. An example that expresses this is in the commercial 2014 German commercial, Camouflage. The commercial is the reflection of how art is shown in multiple ways on how it can be expressed through age, gender, body type, color and musical elements that embark upon the artist's meaning. However, there is an object that is represented by this scene of art, a piece of fabric. In the clip, the primary focus is aimed at the curiosity of the young women, and how she has been introduced to a new world of art. The art being expressed in this clip is a beautiful male dominating painting above her, as well as walking towards the door, she suddenly bypasses and notices a glittery fabric set on a table before her. While at this moment, a dark figure behind her immediately became visible and turned out to be the material placed on the table. The idea of having a piece of fabric come to a form of reality is disputable, in how the fabric is perceived as a form of art that is before the audience and young girl and how the idea of it coming to life and is dealt with different perceptions for different people.

The first element is classified as the brand through JAB Anstoetz Fabrics, and in this case, the advertisers who are representing this fabric company are not only represented through their experience of images used before, but are represented through the signs of commodity culture. These brands are lived through the personal powers and how the logos are included within the commercial overall. Towards the second to last ending of the commercial, the brand JAB Anstoetz appears before the model, and clearly indicating that the brand if often advertised on common cultural accessibilities that we are familiar and can be accustomed to. With this, the advertisers are able to catch the people’s eye through just this.

Secondly, the qualities that lie along the public sphere focus upon the classifications that are dealt with groups of “private” persons who assemble together in a separate manner in discussing circumstances of common public interests in ways that we mediate over the power of state. In this commercial, the public eye can foresee these women in different aspects, where it can be seen as something of the young girl that has inspired her to look beyond her future, in a dreamlike setting, or it can be seen as the fabric itself became the reality she wasn’t used to. It’s the young girl’s curiosity that allowed her to explore the expectation she was in search for. When I perceive this commercial I often think of the slogan “A piece of Fabric is worth a thousand Expectations”. When we put focus on the piece of fabric, and how both women are being represented, we often contemplate on how many ways one can perceive this through our own social norms that were affiliate with our lives. In this case, it is done through a carnival like musical background, that already sets the child-like mood and imagery, as well as being set in an old house, that can put us in her dream of reminiscing of when she was a younger little girl, as well as the use of extra lighting of the room as the young girl walks through the hallway. Her main focus is to find that unexpected something, and for the audience to get the “what’s next” feel, is what drives us into wanting to continue on with the short clip.

When we put focus on the authenticity of the images seen before us, we often focus on the values triggered through the different forms of art brought to the audience, and how we might perceive the body paint, more specifically, as we would like to perceive any other form of art. The intention for this commercial is to set its focus on how it’s classified as this ‘magical story’, behind the magical fabric, and when viewers may think of the story line as a simple story, it makes one think of all the discoveries done to make the intention of this clip to stand out. Through Julie Boehm's work, it often personifies mystical and magical settings that can be done through just one image. Her body painter Udo Schurr, helps Boehm’s ideas come to life. Julie Boehm is played as the dark dairy who dances her way into the mystical mindset, while the curious young girl, Mia, is set towards wanting to get a hold of the fabric. Going on, this commercial expresses it authentic values through the philosophical notions perceived through beauty and ugliness. In this film, it is done through beauty, and incorporating both female dominate participants, in showing off their aesthetic qualities in how body paint and regular paintings on a canvas can share similar settings and still have independent qualities that fall in the same direction as the artist intended. This is done throughout the beginning and middle of the clip, where the young girl is alone in the hallway, puts focus to the portrait above her, and then finalizes this thought through making acknowledgments to the model behind her.

When identifying the role of intention with the creation of an image(s), the intention is often set as a conscious act, where advertisers market their research that match up with their meanings. These meanings symbolize the product of complexities as well as the social interactions among the images, viewers, and context. We can apply this concept through the ways to where the commercial is planned out in reflection to the old story-like scenery where the artist Julie Boehm strikes her focus on a ‘young poor little girl who is captivated into an old house’, in which her curiosity takes over and later discovers a glistening light that drives her attention closer. The dark fairy starts off as a hidden figure, and then continues on with her appearance. She ends up being the fabric itself, which was set on the table early on in the commercial. The young women is then startled by the appearance before her and continues to make sharp eye contact with fear, of the dark fairy. The dark fairy expresses her appearance through dancing across the room, as well as leaping across expressing her techniques. The role in creating this commercial, seems to strike audiences through staged direction. This allows viewers to get a clear view on how each of the items were placed and how the characters worked around the objects used, as well as incorporating focus on the fabric’s intention.

The values of the image concentrates on economic, social, political, and aesthetics dependent upon the social context. As mentioned the beliefs of a work’s authenticity, its uniqueness and its aesthetic styles contributes well enough to the values brought towards the viewers. The social mythologies surrounds us with the work of art and it’s the intended artist who incorporates their values to how we perceive the core values. In Camouflage, these values strike the aesthetics of a child-like imagery, where the young girl, Mia, and the dancing Fairy, Julie Boehm, acts in playing hide and seek with one another, even though we might perceive it as more of fear. Towards the ending of the clip, Mia somehow catches the fairy and falls down onto a huge bed, where the fairy transforms into the fabric. This teaser, has given us many perceptions to contemplate on, and the unexpected still awaits.

When driven into manufacturing the desire of art, we generally think of the commodity self, where is perceived as the idea to which individualizes the “self” notably, its subjectivities that lie upon mediated and constructions, that lie within the consumptions of making use of with the art beholds. In the beginning, the artist makes a clear vision of a Portrait that the girl quickly examines. This portrait as mentioned, is a male domination of what the commercial intentionally wanted, however it does make use of incorporating both genders to even out the bias we may perceive it as. Going further, the piece of fabric shown in the video is followed by the use of music in the background, as the model approaches the young lady, entering on cue with the music, continues to make her appearance visible and then flashes the audience with the body paint that parallels with the same piece of fabric used on the table. The identity of the glittery fabric is reflective through the artist’s work, and conceptions of how the model dances her way through the reflection of mirrors. It almost has the audience in despair, because we don’t know if the movement means something internally or is meant through some form of message. We don’t really know what to expect at this point, just by the look of how the setting is set in this point of the clip. Others might perceive it as to how and what the artist intentionally meant by involving the hidden qualities of this piece of fabric, as well as using it in ways to promote the brand ,JAB Anstoetz Fabrics, alongside through aesthesis of the materialized object collaborated to sell off their merchandise.

In the clip, we are aware that the young girl is fully clothed, however, we come to notice that the model presenting the body is completely nude under the art drawn. When we think of women who are being represented in any form of nudity or bare, many often treat women as sex symbols and often see women displaying their promotions in a sexual way. When I viewed this commercial for the first time, I completely viewed it as a form of art all throughout the clip, whether the incorporation of background music, to the way the young girl and dark angel was directed to act throughout it all. This commercial is a clear example of how art is perceived in many forms for its intended meaning, not for sexual credits and desires that everyone hopes to hear about. This clip compared to the PETA Vegan Wool awareness campaign advertisement, is foreseen as a women completely naked in a forest/barn-like setting that is trying to captivate the audience in believing this vegan wool catch. Unlike the complete nudity shown in PETA’s ad, the Camouflage commercial is aimed towards another material object, but was done in a proper manner. Even though these two companies are trying to promote the brand they might be working for, the Camouflage commercial was set in an educational way, compared to the PETA ad being launched as a “sex sells” type of feel. The docile bodies, shown in visual images are socially disciplined, are set and get through these cultural norms such as self- discipline and self-surveillance. It is known that docile bodies are classified as corporations wanting their people to become individualistic and independent by using their product. As if belonging to or in the difference of parting with belonging to a group based on how we view others. The model used in Camouflage, Julie Boehm, expressed her body through perceptions as the actual ‘body art’, in this case, the fabric and how it is set in a mystical setting, while in compassion to the PETA model mentioned. This PETA model, is completely bare in the setting she is set to be in.This model, unlike other body paint models, makes use of a brand whereas the model of PETA is making use of her body in representation of the Vegan Wool awareness

To finalize perceptions that were triggered throughout the commercial, Camouflage, I was able to pinpoint the obvious in the intention of the artist as well as applying it to what I have learned about visual images. Visual culture, more specifically images, are set by the person view and analyzing the image. We are the ones who set the meanings behind these images, and view how the artist sets the mood through incorporating models and actresses in short clips like Camouflage. This commercial expresses art in various ways in which strikes me as a listener and analyzer, because as we mentioned in the PETA advertisement, in current day society, people who perceive those advertisements as art, has no similar comparison to those artists who think bigger than what the world is already used to seeing before them.

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