rinkokawauchi_jp News: りんこ日記はこちらです。>>Rinko DiaryInstagram >> rinkokawauchi MILK JAPN WEBにて「そんなふう」連載中 2017.9ベク・スンウさんとの共著『Composition No.1 Seung Woo Back Rinko Kawauchi』がIANNBOOKSより発売。 Manuel Estrada Manuel Estrada nació en 1953. Comenzó los estudios de arquitectura mientras trabajaba en el estudio del arquitecto Román Marlasca. En el principio de los años ochenta crea, junto a otras cinco personas, el colectivo gráfico Sidecar y abandona los estudios de arquitectura. Durante varios años compatibiliza la gráfica publicitaria, trabajando para algunas de las Agencias españolas más importantes, con el packaging, los carteles de cine y el diseño de publicaciones. En 1989 abre su propio Estudio volcado de lleno en el Diseño Gráfico: Logos y cubiertas de libros, revistas y carteles.
Visible Thinking - Rutinas de pensamiento del Project Zero Purpose and Goals Visible Thinking is a flexible and systematic research-based approach to integrating the development of students' thinking with content learning across subject matters. An extensive and adaptable collection of practices, Visible Thinking has a double goal: on the one hand, to cultivate students' thinking skills and dispositions, and, on the other, to deepen content learning. By thinking dispositions, we mean curiosity, concern for truth and understanding, a creative mindset, not just being skilled but also alert to thinking and learning opportunities and eager to take them Who is it for? Visible Thinking is for teachers, school leaders and administrators in K - 12 schools who want to encourage the development of a culture of thinking in their classrooms and schools. Key Features and Practices At the core of Visible Thinking are practices that help make thinking visible: Thinking Routines loosely guide learners' thought processes and encourage active processing.
Photojournalism — Brent Stirton KIKA, CAMEROON, JULY 2010: Members of the Baka Pygmy tribe, the original forest dwellers of the Cameroon forests, Kika, Cameroon, June 9, 2010. The Baka have small logging concessions of their own in community forest areas but are plaughed by a lack of education, logging equipment, access to markets and an addiction to alcohol fostered by their Bantu neighbours who ruled them for many years and who often pay the Baka for labor in alcohol. Logging roads and subsequent small towns created by logging concessions are bringing man and infrastructure further into the forest of Cameroon than ever before, Kika, Cameroon, June 5, 2010. Renato Seixas Renato Seixas nació en Oporto en 1975 donde creció con las máquinas voladoras de Miyazaki en los episodios de Conan, El Niño del Futuro. Estas despertaron en él la pasión y la magia por el universo visual animado y sonoro. Licenciado por la Escola Superior de Artes e Design, Oporto, inicia su carrera como diseñador gráfico por distintos estudios, hasta el año 2000 en él que decide lanzarse por su cuenta.
Ecosystem of Excess, 2014 - Pinar Yoldas This project starts in the Great Pacific Garbage Patch. Covering between 700000 and 15 million square kilometers, the site is a monument to plastic waste on a global scale. Referring to Kantian aesthetics, it is a truly ‘sublime’ kinetic sculpture built by all the nations around the Pacific Ocean through many years of mindless, unsustainable consumption. As environmental activist and discoverer of the Trash Vortex Captain Charles Moore boldly claims, ‘the ocean has turned into a plastic soup.’ From primordial soup to plastic soup, An Ecosystem of Excess asks a very simple question: ‘If life started today in our plastic debris filled oceans, what kinds of life forms would emerge out of this contemporary primordial ooze?’ The project introduces pelagic insects, marine reptilia, fish and birds endowed with organs to sense and metabolize plastics as a new Linnean order of post-human life forms.
lbumes web de Picasa - A non-4AD tribute... +You Search Images Maps Play Chris Jordan - Running the Numbers II This ongoing series looks at mass phenomena that occur on a global scale. Similarly to the first Running the Numbers series, each image portrays a specific quantity of something: the number of tuna fished from the world's oceans every fifteen minutes, for example. But this time the statistics are global in scale, rather than specifically American. Finding meaning in global mass phenomena can be difficult because the phenomena themselves are invisible, spread across the earth in millions of separate places. There is no Mount Everest of waste that we can make a pilgrimage to and behold the sobering aggregate of our discarded stuff, seeing and feeling it viscerally with our senses.