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Many quipus were identified as idolatrous and destroyed, but some Spaniards promoted the adaptation of the quipu recording system to the needs of the colonial administration, and some priests advocated the use of quipus for ecclesiastical purposes. [9] Today, quipus continue to serve as important items in several modern Andean villages. [10]
Despite their numbers, and the preservation of more famous and larger carriers as museums, none of these modest ships survive today. Five were lost to enemy action during World War II and the remainder were scrapped. [1] [2] Casablanca was the first class designed from keel up as an escort carrier. It had a larger and more useful hangar deck ...
The direction of the shadows in photos 280 and 281 of the cremation pits, taken in the West-South-West in relation to the shooting, and the August light, indicate that these photos were taken between 3 and 4 pm. [21] This suggests that it is the same transport photographed before and after the same gassing. [22]
Urton is a specialist in Andean archaeology, particularly the quipu (khipu) rope-based recording system used in the Inca empire in the 15th and 16th centuries. He is one of the most prominent advocates of the theory that the quipus encode linguistic as well as numerical information. [5] He is a class of 2000 MacArthur Fellow. [6]
The photographs the unit produced were used as the basis for at least two contemporary books: Power In the Pacific – compiled by Steichen to accompany an exhibition by the same title at the Museum of Modern Art [4] The Blue Ghost – a record of Steichen's November 1943 tour on board the USS Lexington. [5]
The first artists were sent to the Pacific Ocean theater of World War II, but in May 1943 Congress withdrew funding from the program and the War Art Unit was inactivated. The Army assigned the military artists to other units and released the civilians.
López used the wet-plate collodion process, making and developing his plates in a portable darkroom. The plates were sensitive to blue light only; his darkroom was an orange tent. This was the first time photography had covered South American warfare and his images became iconic. [27]
It was the first Allied unit to provide film of the assault waves landing in Sicily and Normandy, the first to get still pictures from Normandy onto the front pages of the world press, and the only one to produce colour pictures of Operation Overlord. [2] Among its members were: Charles Roos, who was the first Allied cameraman ashore on D-Day.