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This was the first work to show how the Inca (Inka) Empire and its predecessor societies used the quipu for mathematical and accounting records in the decimal system. The archaeologist Gary Urton noted in his 2003 book Signs of the Inka Khipu that he estimated "from my own studies and from the published works of other scholars that there are ...
One photo shows one of the stakes at which bodies were burned when the crematoria could not manage to burn all the bodies. The bodies in the foreground are waiting to be thrown into the fire. Another picture shows one of the places in the forest where people undress before 'showering'—as they were told—and then go to the gas-chambers.
Various firearms used by the United States military during World War II, displayed at the National Firearms Museum in Fairfax County, Virginia. The following is a list of World War II weapons of the United States, which includes firearm, artillery, vehicles, vessels, and other support equipment known to have been used by the United States Armed Forces—namely the United States Army, United ...
Her research on khipu boards, a herding khipu collected by Max Uhle in 1895, and other khipus surviving in Andean communities led her to argue that the ply direction of knots on khipu cords and the colour of the fibre were significant ways of encoding meaning in khipus. [12] [13] [14]
An appeal to self-interest during World War II, by the United States Office of War Information (restored by Yann) Wait for Me, Daddy , by Claude P. Dettloff (restored by Yann ) Selection on the ramp at Auschwitz-Birkenau at Auschwitz Album , by the Auschwitz Erkennungsdienst (restored by Yann )
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]
Over the years, Alpert gave several contradictory versions of the event, with dates ranging from autumn 1941 to 1943. [1] [2] Alpert was consistent in that he did not know the officer's name and that the photograph's title Kombat ('commander of a battalion') was likely inaccurate – after he took it, he overheard that "the kombat is killed" and tentatively associated this message with the ...
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]