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Burning Chrome The Gernsback Continuum Mercifully, the whole thing is starting to fade, to be- come an episode. There was that flying-wing liner over San Francisco last week, but it was almost translucent.
And the shark-fin roadsters have gotten scarcer, and freeways discreetly avoid un- folding themselves into the gleaming eighty lane monsters I was forced to drive last month in my rented Toyota.
And I know that none of it will follow me to New York; my vision is narrowing to a single wave- length of probability. Tele- vision helped a lot. Dead steam-table food and it took them thirty minutes to find an ice bucket for the retsina.
Cohen works for Barris-Watford, who publish big, trendy "trade" paperbacks: A lean and hungry young agency had decided that the mystery of London Transport would sell waffle-tread nylon runners. They decide; I shoot. And Cohen, whom I knew vaguely from the old days in New York, had invited me to lunch the day before I was due out of Heathrow.
He brought along a very fash- Sunglasses market research papers dressed young woman named Dialta Downes, who was virtually chinless and evidently a noted pop-art historian.
Cohen introduced us and explained that Dialta was the prime mover behind the latest Barris-Watford pro- ject, an illustrated history of what she called "Ameri- can Streamlined Moderne.
The Tomorrow That Never Was. In Dialta Downes this manifested itself in a mania for a uniquely American form of architecture that most Americans are scarcely aware of.
I found myself remembering Sunday morning television in the Fifties. She was talking about those odds and ends of "futuristic" Thirties and Forties architecture you pass daily in American cities without noticing; the movie marquees ribbed to radiate some mysterious en- ergy, the dime stores faced with fluted aluminum, the chrome-tube chairs gathering dust in the lobbies of tran- sient hotels.
She saw these things as segments of a dreamworld, abandoned in the uncaring present; she wanted me to photograph them for her. The Thirties had seen the first generation of Ameri- can industrial designers; until the Thirties, all pencil sharpeners had looked like pencil sharpeners your basic Victorian mechanism, perhaps with a curlicue of decorative trim.
Which made a certain kind of sense, because the most successful American designers had been recruited from the ranks of Broadway theater designers. It was all a stage set, a series of elaborate props for playing at living in the future.
Over coffee, Cohen produced a fat manila envelope full of glossies. I saw the winged statues that guard the Hoover Dam, forty-foot concrete hood ornaments lean- ing steadfastly into an imaginary hurricane. I hesitated over one sketch of a particularly grandiose prop-driven airliner, all wing, like a fat sym- metrical boomerang with windows in unlikely places.
Labeled arrows indicated the locations of the grand ballroom and two squash courts.
It was dated New York to London in less than two days, first-class dining rooms, private cabins, sun decks, dancing to jazz in the evening The designers were populists, you see; they were trying to give the public what it wanted. What the public wanted was the future.
Architectural photography can involve a lot of wait- ing; the building becomes a kind of sundial, while you wait for a shadow to crawl away from a detail you want, or for the mass and balance of the structure to reveal itself in a certain way.
When I isolated a few of the factory buildings on the ground glass of the Hasselblad, they came across with a kind of sinister totalitarian dignity, like the stadiums Albert Speer built for Hitler. But the rest of it was relentlessly tacky:The information in Market Trends: Sunglasses is obtained from both primary and secondary research.
Primary research data is provided by Simmons Market Research Bureau (consumer buying and usage data), U.S. government data, and prominent sunwear and eyewear associations.
Ray-Ban Sunglasses, style RB Clubmaster is a rx-able rectangular metal frame rimmed with plastic on the upper frame. The RB features adjustable nose pads and plastic temples for superb comfort. The Ray-Ban logo is featured on the temples. Free camping trip papers, essays, and research papers.
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Reach over million consumers and 14 million businesses. Essilor International S.A. is a French-based international ophthalmic optics company that designs, manufactures and markets lenses to correct or protect eyesight.
Its headquarters is based in Charenton-le-Pont (near Paris), France. Essilor is quoted on the Euronext Paris Stock alphabetnyc.com is a component of the Euro Stoxx 50 share index..
Essilor is . First-born children really ARE smarter says new study Finally it's settled! First-born children really ARE smarter (and their younger siblings can blame their parents).