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Dry cleaner’s window seen at night in NYC. There was something artistic about the ironing station: the draping of the sleeves and the overall arrangement of the shirts in their hangers caught my attention.
We had the opportunity to visit Houtan Park in Shanghai, a "regenerative living landscape" designed by the firm Turenscape. Water from the heavily polluted Wuangpu River is pumped through a series of landscape features and filters: cleaned naturally by the plants and organisms living in the park. The park is open to the public, and the design is beautiful on its own with carefully selected swaths of grasses and trees bordering a series of ponds. Boardwalks wind their way over and along the waterways, preventing access to the dirtier areas, and gradually allowing contact at the end when the water has reached a satisfactory level of purification.
Are you thinking of buying a vibrator rabbit for a pet? Looking to enhance your daily satisfaction in life? Yes, we have partially lost our mind, but until your have had a rabbit that you love, you just can't understand what we feel!
Here is a great online store to...
This is actually a thing, it seems. Big cars with giant vacuum cleaner machines that power long hooses, which in turn can vacuum flat roofs. There were three people total up on that roof, and they were very busy cleaning lots of dirt and water.
I had seen a report on these things in German TV before, but didn't expect to encounter one in action...
cleaner than it was.. and loaded up for another trip to the tip. i know it would be cooler if it was a vintage longboard..
blog here: www.pistonheads.com/members/showcar.asp?carId=191311
The marketplace has numerous options for vacuum cleaners, each with a plethora of options in features.
A lot of individuals purchase the very first vacuum that looks midway good since they do not like vacuum cleaner shopping and wish to invest their cash on things that appear more exciting. There are different types of vacuums in the market, and each of them has its advantages and disadvantages. The top place to start is by learning more about the various standard designs of areas that are out there, so I've included a short introduction to each in the paragraphs below.
Upright Vacuums
Many businesses that sell upright vacuum cleaners provide very similar accessories and claim the same advantages. Upright vacuum cleaners were regularly having a motor, bag, as well as a hose & beater in a single system. Carpeted floorings, as well as wood floorings, can be cleaned well by the usage of an upright vacuum cleaner, particularly if the appliance has different height settings.
Bagless Vacuums
The benefit of a bagless vacuum cleaner is that you can see what has been picked up and are less likely to forget to empty the collection cup. If not Some vacuum cleaners require that you tidy or replace their filters regularly. Leaving the dirt cup itself could be an untidy procedure based upon your vacuum cleaner.
Canister Vacuums
A Canister vacuum cleaner and some upright ones deposit dust and debris into a container rather than a vacuum bag. These hard bag vacuum cleaners, which likewise known as bagless vacuum cleaners, customarily consist of HEPA filters that much better get rid of dirt particles, dust, pollen, and dander from the air passing through the vacuum cleaner and make an ideal choice for homes with allergic reaction victims.
Stick Vacuums
Those who face difficulty in maneuvering a full-sized vacuum and for those who reside in lofts with tough surfaces, Stick vacuum is the besthe t option. Beaters and rollers are left out from stick vacuum, which is otherwise similar to upright models. Vacuum cleaner like the Eureka broom vacuum cleaners and dirt devil broom vacuum perform well on the wood floor covering, furnishings, curtains, hard-to-reach places, and in tight areas. A number of the more compact "stick" vacuums use a removable cup instead of a bag to hold what's being pulled off the floor. The smaller sized motors furthermore don't need as much energy as their bigger counterparts in the vacuum arena, and many systems are cordless.
Handheld Vacuum Cleaners
A handheld vacuum could be taken out to rapidly dispose of a small mess. Lots of people delight in the benefit of portable space for smaller sized messes. Handheld vacuum cleaners have the majority of the same features.
Robotic Cleaners
A robotic vacuum is the latest pattern utilized for the vacuum cleaning procedure. They conserve a long time, inconvenience as well as some work. Robotic vacuums have integrated into dirt sensors that assist direct their movement. The heads on the robotic vacuum are adjustable for the various heights of carpet and wood floors. Most of them are offered with side brushes for washing the edges of the room and around furniture. The majority of vacuum cleaners have a bagless system, and there the clearing out the collection location is secure.
Roombas and other self-guided vacuums may appear like appealing options because they seem to require little work on your part. However, there are some issues that you ought to think about in the past purchasing one. These vacuums are a mixed bag, so to speak because they are not very comprehensive at cleaning. Some of them also tended to close doors behind them, having themselves secured a space.
Central Installed Vacuums
Instead of hauling the motor and cleansing bag around behind you, check out adding a centralized vacuum, like an Imperium central vacuum, Kenmore o, r a Beam centralized cleansing system.
The central vacuum system has pipelines in the walls which get linked to a hard motor in some area like the garage or the closet. Whenever you want to clean any space, attach a vacuum tube to one out of the 3 or 4 inlets set apart all over your home and allow the ducts to collect the filth and trash in the motor and sack. The procedure is so quiet, considering that the engine is not near but remains in a remote location.
You may be lured to purchase a central vacuum. However, you should know that they cost way more than a cylinder or upright vacuum, and you may have to employ someone to install it also. The main benefit is that they are much easier to utilize than a cylinder. You need to bring the tube and powerhead, and there is no vacuum body that you need to pull along. While quiet in contrast, central vacuums require less emptying.
Carpet Steamers and Shampooers
Steam vacuums, such as Hoover and Bissell carpet steamers, make use of hot water and soap to deep-clean carpets. Carpet cleaners feature a tank that holds water, soap a, and dirt, but beyond that, they look a lot like vacuum cleaners. The carrying manages to make it easy to move and empty. Carpet steamers have multiple revolving heads instead of beaters, that upset the dirt out of the carpet and make the cleansing option gets deeper into the nap. The suction of a vacuum cleaner is what gets dust from your carpeting. Some carpet cleaners have a spray to focus on the dirtiest of areas. If your carpet is filthy and appears like it has a greasy residue on it, a vacuum cleaner might not suffice to make your carpet appearance respectable once again, so you ought to consider a carpet shampooer. After the shampoo has dried, the rug can be vacuumed. If you utilize a carpet cleaner you, carpets will be far cleaner than if you just vacuumed them.
By contrast this bus, which by its registration is older than the Gross Polluter, is CNG powered and wasn't emitting any smoke at all.
June 2014
Illustration of The Armed Man composed by Karl Jenkins
June 2014
Illustration of The Armed Man composed by Karl Jenkins
SECTION 1: L'Homme Arme
This piece is based on the 15th century French Renaissance song of the same title. It is thought to have been composed for the lead up to a new crusade against the Turks. It roughly translates to ‘The man, the man, the armed man, the armed man, the armed man should be feared, should be feared. Everywhere it has been proclaimed, that each man shall arm himself, with a coat of iron mail.’ As chainmail is so heavily referenced, I decided to start with this. I went to the National Army Museum in Chelsea and looked at different kinds of uniform and armour, but found most of it was too contemporary for this piece, although much of it was of use for later sections of the scroll. I then went to the Wallace Collection, also in London, and looked particularly at the European armour and chainmail. I drew some examples and wrote notes about which types were particularly useful for the design I wanted to create, so I looked at the 4-1 method of chainmail manufacture, as it was used closest to the time of the song, and also looks aesthetically pleasing. From the 14th century onwards, rivets were used so that the structure of the mail is strong, enabling it to stand the blows of swords and arrows. The repetitive structure of the chainmail links well to the music, as it is a repeated melody. The actual score of the music has repeated motifs, the notes are equidistant and follow a pattern. This instantly made me look into print making, in order to achieve the effect of chainmail and demonstrate my understanding of rhythm in the composition and the music. I also looked into Morse code as this is a typical ‘language’ associated with warfare. However, I found that circles of chainmail was more effective to use when printing. I measured my section of the scroll and found that in order to have a successful pattern, I needed to have each circle roughly 1 inch diameter and a half drop pattern, fitting in with the 4-1 pattern of chainmail. I also used imagery from a famous World War One photograph, showing exhausted soldiers walking in a line. I chose to show just their silhouettes, and to rip the paper to show the damage war has inflicted on them, and to contrast with the cleaner prints of the chainmail.
SECTION 2: Adhaan
This piece is the Islamic call to prayer, or Adhaan, sang by a Muezzin soloist. My choir performed this in a church, which gave an interesting contrast to the traditional Christian architecture and imagery, by having this beautiful Arabic voice praising Allah. I went to the V&A museum in London to look at the screens and tiles on display, focusing mainly on geometric repeating patterns. I happened to discover the Jameel Prize exhibition on my way out, which is a collection of modern Islamic art, often inspired by more traditional pieces. One piece was an installation looking at a prayer’s soundwaves, and how the sound looks when printed out. Another looked like a huge, moving machine made up of many different pieces of calligraphy arranged in circles. I found these pieces extremely influential to my work, and used both traditional and contemporary research to develop my own pattern and design for this section. Also, in the summer, I went to an exhibition in Amsterdam on Escher and his works relationship with Islamic art. I found one particular screen that I felt captured the essence of war; the pattern is beautiful, yet the shape used could be seen as an axe, a hammer or another weapon. I tried to replicate the pattern using graph paper, like Islamic architects used when designing their patterns, then used stencil card, string blocks and tracing paper to transfer the design onto the scroll. I also used a photo of a typical Islamic skyline to break up the pattern, and give a border to the two tones used; a sandy earth colour, and grey scale.
SECTION 3: Kyrie
Kyrie refers to a lamp lighting ceremony in Jerusalem, so I decided to look at effects of dark and light in contrast. I used ink, paint and charcoal for the dark, and wax, paint and bleach for the light. It reminded me of a quote from Anne Frank, ‘look how this candle both defies and defines the darkness’, which I thought summarises this section perfectly. You cannot have light without dark, just as you cannot have peace without war. This piece is probably the most influenced by my mark making drawings of the music. The direction for the piece is ‘compassionate, pitying’, and I wanted to reflect this in my work. ‘Kyrie eleison’ (lord, have mercy) is the main repeated phrase, which I found had a particular set of marks in my drawing, so I used these lines to represent each time the phrase is sang. When at the V&A I noticed a display highlighting the similarities in a sun motif between a catholic priests robe and an Islamic pattern. I wanted to show that my motif was similar to written Arabic, particularly to the call of prayer. This links Islam and Catholicism in my work, also as the two sections are next to each other. Impressionism was the style I was aiming to reference, as the music is blurred and beautiful, and I wanted to suggest a feeling, rather than state one. Debussy’s view on impressionist music supports my ideas, as he used chords for the colours, and harmonies for tone. Music and art are the same thing, just using different words.
SECTION 4: Save Me From Bloody Men
This piece uses text from the Book of Psalms, documenting a plea for God’s help. The piece is sung in the style of a Gregorian Chant, so all male voices (TB) and no orchestra. It is extremely powerful and sounds incredible in a church, as it echoes and creates a feeling of menace and foreboding. The percussion beat at the end made a lot of people jump when we performed it, as it’s incredibly loud and sudden, like a gunshot. I wanted to focus on this key moment, so I looked at William Klein’s Tokyo series of a boxer punching a wall with paint. I wanted to recreate this violence, so made myself a boxing/paint brush, and experimented by listening to the track and punching the wall on the drum beat. I used lots of paint on the glove to give a spattering effect, to show the echo of the music, but also of war. War is not a single clean battle, it is the echoes of conflict that continue the destruction. I used my mark making to describe the voices singing, and found that sharp lines and square shapes worked best for the rich, low tone of the music. It also reminded me of morse code, so I combined some words in code into the marks. I wanted to find a way of incorporating the punch, so I used fragile tissue paper as an overlay. This is in contrast to the strong, thick lines and large punch mark.
SECTION 5: Sanctus
This piece is also a part of the traditional Catholic mass, but uses a repeating bass line of ‘Sanctus’ (Holy) as a beat, giving it an ever more sinister and menacing feel as the music goes on. For this reason, I decided to use red paint sparingly at the left side, then more frequently and finally culminating in a frenzy of slashes and spatters. To reference the Catholic roots, I decided to observe church spires, both locally and worldwide, as traditionally these were very high to link God and the congregation, or heaven and earth. This also links to the line ‘Hosannah in excelsis’ which is sudden, loud and high pitched, especially in the part I sing as I am a first soprano. I used very careful observations of church spires and towers to the left, then gradually getting more fractured and shattered as the piece goes on. Both the music and art get steadily more sinister and abstract, giving a sense of unease to the viewer, and suggesting that battle is imminent.
SECTION 6: Hymn Before Action
The text from this piece is taken from the first two stanzas of Rudyard Kiplings poem of the same title. The words conjure a lot of imagery surrounding war, preparing for battle and patriarchy. The last line, ‘lord grant us strength to die’ is repeated three times, highlighting the plea and linking to the previous piece, ‘Save Us From Bloody Men’. I have been inspired by ‘The Book Thief’ by Markus Zusak, in which Death, the narrator, describes his experience of war. This book has been very influential, as its descriptions use colour and strong imagery to describe war, rather than conventional writing techniques, for example, ‘A single hour can consist of thousands of different colors. Waxy yellows, cloud-spat blues. Murky darknesses. In my line of work, I make it a point to notice them. ‘ I wanted my work to give a similar effect; not using figurative studies, instead creating a feeling using colours and shapes. I went to the Wallace Collection and looked at mostly Iranian, Indian and European daggers and swords, both functional and ceremonial. I drew some of these, and found the detail used on these horrific weapons to be incredibly intricate, which caused a juxtaposition of creation and destruction on the same object. There was even a gun, beautifully carved with inlay of gold, pearl and coral, which had a small detail on the barrel of a couple having sexual intercourse. I felt this shocking contrast was important to explore in my work, so experimented by using destructive techniques to create art. Destruction is creation. After all, a drawing is a destroyed pencil and paper. I used a white background of acrylic paint to give a base to this section, as I wanted a greater contrast between black and white, war and peace. I simplified the intricate swords into simpler shapes suitable for printing, and cut stencils. I used black and crimson to symbolise blood, giving the viewer a sense of foreboding about the next section.\
SECTION 7: Charge!
I chose to use this piece of music for my final piece because it is central to the message of the music. It is the 7th in 13 songs, so in the middle, and is also the longest and most dramatic. It covers the lead up to battle, preparations and arming, and then the charge, increasing in tempo and volume until 8 drum beats, then a crescendo of screaming. The direction in the music score has no notes; just a written description, ‘sing any notes and randomly gliss. up & down until ‘J’, then hold. Breathe individually as necessary. Convey horror.’ Jenkins culminates this section with an ffff direction for all voices and instruments- very very loud. Then, a roughly 30 second long silence gives time for the audience to reflect, and the echoes to die down. A lone bugler plays ‘The Last Post’ offstage. I left a large space of blank wood to symbolise the silence, then interpreted The Last Post into small black marks around the edge.The other side features camouflage typically used by the French in the Somme in the First World War. Continuing on this theme, I researched the trenches and incorporated a map of Flanders into the left side. This emotionally harrowing piece struck me as something that was not contained in the bounds of the scroll, and therefore I decided to use a larger piece to convey the emotion, horror and overall power that this piece has. I chose a circle because it remarks on the fact that war and peace are a never ending cycle, and that you cannot have one without the other. I also wanted it to look similar to some of the weapons I have been researching, chiefly the shields in the Wallace collection. I noticed that a great deal of them had large spikes pushing out from the centre. From the side, these were sharp and but not particularly menacing; yet from the front on, it seemed that the spike was coming directly at you, giving an extremely threatening feel. I wanted to recreate this feeling of terror when something is advancing straight for you, and so made my own spike for the centre of my shield. I chose a particular shape when creating it, to reference how a crescendo is written in music (<) as this piece continually gets louder towards the climax. I experimented with the Ready Morse method typography to write ‘Charge’ on the spike, and used photograms to capture it. I felt this was appropriate because a photogram switches black and white, light and dark, just as war turns everything on its head. I want the viewer to feel frightened, confused and like they are in the middle of the conflict. For this reason, I chose to incorporate a broken mirror into my design, as the viewer will move along the scroll, feeling somewhat separate from the action, as none of this horror happened in their life. Then, at eye level, a broken mirror puts them directly inside the artwork, and they see that anyone can be affected by war. I broke it because I wanted to explore violence in creation, and the act of smashing something creates a new effect. It also means that the viewer may not initially recognise themselves in the reflection, as they are distorted and manipulated, similar to wars effect on people and nature. Broken mirrors were also used by a group of rebel fighters, The West Side Boys, in the Sierra Leone conflict. They used the mirrors to deflect attention from their positions and confuse the enemy. Additionally, I want to remind people that war is not something separate to humans; it is started, fought and ended by us. Yet the effects of war render us dehumanised. As Death, the narrator of The Book Thief remarks, ‘A small but noteworthy note. I've seen so many young men over the years who think they're running at other young men. They are not. They are running at me.’
SECTION 8: Angry Flames
Angry flames was written by Sankichi Toge, who survived the Hiroshima bombings. It documents the destruction he saw, and his feelings. I have always been interested in photojournalism, particularly work by Don McCullin, so decided to research more photos like his. I focused mainly on black and white ones, and most importantly, images that told a story. I compiled all these images using pinterest (www.pinterest.com/pshelleysmith/the-armed-man/ ) and used emulsion printing to capture these on my scroll. This printing technique symbolises the strange effect that the atomic blast had on humans; it would cast a sort of black shadow of their form onto the ground, wherever they fell, as the heat of the explosion was so great. I chose to use white paint to capture the images to contrast with this horrific phenomenon, photographs of this can be seen on my pinterest board. I then used charcoal, as it is burnt wood, to draw a mushroom cloud over the images, and chalk to create highlights. When standing back, the full mushroom cloud is visible, and when up close, the photographs come into focus. This is similar to how the bomb was created; it was designed to destruct, but the true horror is only visible when up close. Photojournalism is the bridge between the victims and the public, just as my work is a bridge between music and art. I also wanted the photos incorporated in my piece to create a sort of memorial to the suffering that was endured in the lead up to each photo, during, and afterwards; not just the subject of the photo but also the photographer, who is often forgotten. A great many journalists risk and sometimes lose their lives to report on conflict.
SECTION 9: Torches
This piece has text taken from the Mahabharata, an Indian epic narrative thought to date back to 400BC. It is the longest poem ever written, and documents the conflict of the Kurukshetra War and the fates of the Kaurava and the Pandava princes. This particular section describes animals and humans fleeing from a fire. At the Wallace Collection, I looked at a great deal of armour, particularly European. The helmets were intimidating and dehumanising, showing only a glimpse of eyes beneath a towering mass of metal. They were often distorted and given sharp points and exaggerated features to scare the enemy. Horses were also concealed in this way, given horns or tusks perhaps as weapons, or just decoration. I read poetry documenting the First World War, particularly poems by Wilfred Owen and Siegfried Sassoon. One poem, Mental Cases, compares the soldiers to animals, ‘Drooping tongues from jaws that slob their relish, Baring teeth that leer like skulls' tongues wicked’ I found this poem extremely powerful and hard hitting, as it shows that war is not a human affair. Therefore I developed unhuman, monstrous creatures to show a more abstract vision of war and destruction, inspired by the helmets, poems and work by Francis Bacon. Another piece that influenced this decision is Guernica by Picasso. The scale of the work is colossal, and must be intimidating to view. I wanted to capture this feeling of discomfort when viewing something truly horrific. I again used charcoal, as it is living flesh destroyed by fire. The majority of this piece of music seems fairly bland in comparison to the other sections; it uses a fairly regular rhythm, and emphasises a few of the phrases, with alto and soprano dominant and occasional use of all four parts. However, at the end, percussion and an ff direction causes the repetition of ‘torches’ to shock the audience. In a way, the slow, chanting rhythm of the rest of the piece bares a contrast to these last few bars, and makes it seem more horrific. A Hindu method of storytelling is to remain completely detached from the story, and let the words speak for themselves. Perhaps Jenkins was using this technique to emphasise the horror.
SECTION 10: Agnus Dei
This piece is also based on the traditional catholic mass, where Agnus Dei translates to ‘Lamb of God’. I decided to look at influential figures and words of war, from both sides as it were, so ranging from Hitler to Anne Frank, Gandhi, Churchill, J.F. Kennedy, protesters boards, Wilfred Owen, Vera Brittain, many other war poems, songs, films and books, and even biblical passages. I separated these by having the more destructive, pro war quotes on the left, towards the destruction, and the positive, pacifist ones on the right. I see this section of music as the turning point in the piece, as it begins to introduce a more positive sound, and soft, lilting melody. It reminded me of rivers or the sea, and the marks I made while listening to it also had this look of ripples and swirls. Therefore, I grouped the text in a similar way, sketching out first then filling in the quotes. They do not all read perfectly in order, as I chose to mix them up slightly. This has the effect of showing that after war, even though the right intentions are there, the world is forever in turmoil, and the order of peace cannot be restored.
SECTION 11: Now The Guns Have Stopped
The lyrics of this piece were written by Guy Wilson, the master of the Royal Armouries museum, as part of a display on the guilt that was felt by surviving soldiers of WW1. It reminded me of the poetry I had studied from the First World War, and I decided to find out more about this time. I researched uniforms, cap badges, gas masks and memoirs, particularly English ones about guilt and grief. I felt the most powerful imagery of this time was the mass graves in France and Belgium, the rows of white crosses. I decided to draw these recognisable symbols, but do so in a style that was rough and free, rather than perfectly measured crosses. I experimented ways of creating these iconic crosses using a variety of media; I used masking tape, masking fluid and wax to leave areas white, and then a black ink wash, and finally white acrylic paint and bleach to reveal sections. The bleach reacted with the paint to give a rusty red colour, reminding the viewer of blood. The dark ink gives a stark contrast to the sections either side of it, and makes the crosses seem even brighter. Appropriately, this is the 11th section of the music and my artwork.
SECTION 12: Benedictus
This piece starts with a long and stunningly beautiful cello solo, with a repeating melody that the choir sings later. However, it also has a sad undertone, specifically when the choir sings ‘Hosanna in Excelsis’. I went to a talk hosted by the Royal British Legion to draw, which had three speakers; a Naval officer from the Cold War, an intelligence worker responsible for electronic CSAR units (combat search and rescue) used from the Vietnamese war up to today’s conflict in Afghanistan. The last speaker impacted me the most, as he was a rear gunner in the RAF. He was 94, yet stood for the duration of his speech, and told many jokes, despite his difficult subject matter. He described his training and first operations, and how he signed up; he went to the registry office, gave his true age, 17, to the officer. The officer told him to walk outside and try again. He came back, said he was 19, and was immediately accepted. I drew him as he spoke, and the sketch that is most poignant in my opinion is the one when he was speaking about the death of his childhood best friend, and his feeling of guilt that he would come home to his family, while at his friend’s house, there would be a feeling of emptiness. His eyes started to water at this point, even after 70 odd years. I felt my drawing captured the beauty and sadness of this piece, and so scaled up and developed the sketch for the final draft of the scroll.
SECTION 13: Better Is Peace
The final piece is a reprise of L’Homme Armé, but is in a major key, giving a more positive sound. The lyrics are sometimes replaced with ‘better is peace than always war’, and the piece is sung by soloists and choir SATB. I chose to look at traditional symbols of peace, particularly the dove, as this is used as the album artwork and on posters relating to the music. I looked at symbolism of birds flying upwards to indicate peace, positivity and happiness, and a bird flying down being a bad omen for war, death and destruction. I therefore decided to draw birds. Unfortunately, while I was studying birds, perhaps as another strange moment of fate, my mum ran over a pure white pigeon (by accident). We took it home and I photographed and drew this beautiful and tragic creature, and developed my idea of having two birds in the image; one to the left, dead and seemingly flying down, to indicate the death and destruction that my piece has journeyed through, and a second bird to the right, flying upwards in a burst of light to symbolise the new hope for peace expressed through the lyrics. Between the two, I decided to give a reprise of the chainmail print from the first section, like the reprise in the music, but this time printed using very light grey and pure white. Additionally, I included the marks I made when listening to the piece, this time done in a white oily pencil. The second part of this piece, ‘God shall wipe away all tears…’ strips back the orchestra for the choir to sing a capella in beautiful harmonies. For our performance, the orchestra joined in to sing with us. In the music score, there is an optional solo part at the very end of this piece for the soprano soloist. The official The Armed Man CD does not include this last note, but in our performance, the soloist decided to do it. It is right at the very end, when all other parts gradually fall into a beautiful harmony, one voice soars above the rest, a very pure and high note. This reminded me of the dove flying upwards, and I wanted to recreate this ascent, perhaps to heaven, to peace, and to hope.
Sign for the Hand Craft cleaners. Because of the weird spacing around the pipes, I always thought it was Hand C Raft cleaners.
Country: South Korea
Designer: Gyu Ha Choi
School: Handong Global University
The Robo TAP is a smart evolution of the robotic vacuum cleaner used to target an exact area for cleaning. An IPS system aligned with a simple remote control is attached to the shoe or slipper of the user. Two taps on a dirty spot directs the Robo TAP to the precise area for cleaning. Two more taps will cancel the order and three taps returns the vacuum cleaner to its automatic programme. It’s as fun as tap dancing, but much easier.
A new bathroom in our house was being done. I'm pretty sure this is a vacuum cleaner, forgive me if I'm wrong.
Photographed using the Canon Sure Shot 60 Zoom, and Kodak Ultramax 400 film.
Kenting, Taiwan -- A cleaner shrimp is cleaning the mouth of a spotnape cardinalfish.
I love this shot! This is one of the tiny everyday spectacles nature has to offer.
This cleaner shrimp hangs out at a cleaning station, to which the fish come to have their mouths and dentures cleaned. Think dentists clinic under water!
The fish perform a certain motion to indicate that they need cleaning and patiently queue up for the 'dentist' to do its job.
Even big fearsome predators like moray eel often live in symbiosis with cleaner shrimps, which perform a valuable service for the health of their 'patients'.
© Thomas Koenig
Acne, the utmost common skin complaint in the United States., can be a basis of worry for every teen-age. And more, the rate of acne is growing in grownups, too.Acne is caused by impassable hair follicles and oil (sebaceous) glands of the skin, frequently caused by hormonal deviations. The word acne mentions to not only pimples on the face, but nodules, cysts, and blackheads as well. Some individuals get acne on other portions of their body too, such as the chest and back.
Sunburns happen when there is too much contact to ultraviolet (UV) sunlit from the sun or sunlamps. The skin goes red, sore, burning to the touch, and may even peel away. It's tough to see how much time is harmless in the sun, however, even with sunblock shield. Repetitive sunburns, particularly as a kid, can increase the danger for skin cancer later in life. Typically sunscreen needs to be reapplied every 2 hours, but you may just need to keep yourself out of the sun, too.
Lot of us have had contact dermatitis - when we touch things that progresses into a skin reaction. Contact dermatitis is a kind of eczema, and can come from plants, jewelry, latex gloves, and cleaners like bleach, shampoos and soaps. To stop contact dermatitis, avoid the thing when possible. To evade symptoms, antihistamines and colloidal oatmeal baths are frequently useful. If your doctor doubts you have contact dermatitis.
Anybody who has a kid knows about the mutual problem of diaper rash
A wet or soiled diaper wearing on too long can be cause of red sore bumps and rash in the diaper part, the bottoms, genitals, and skin bends.
Urine and stool can breakdown skin, and substances in a disposable diaper can melt out and cause the skin.
It's an unlucky fact, but your feet are prone to fungal contagions. Athletes’ foot can principal to extreme itching, soreness, and cracked skin on the feet and in among the toes. A kind of fungi called dermatophytes are normally found in warm, soggy areas like pool decks, bath stalls, and locker rooms.
Basal cell carcinoma (BCC) is the utmost common type of skin cancer in the United States. BCC raises in the upper basal cells of your skin but hardly extents and is treatable. You may be prone to BCCs if you use to spend lots of time in the sun or use a tanning bed habitually.
Hives are the aware swellings (raised, red, itchy areas) that can happen on the skin. Common reasons of hives include medicine, nutrition, and bug bites or wounds. Pursue urgent treatment if your hives cover a big area of your body, your throat or face area is swelling, or they causing you to breathing. Hives typically go away in 3 to 5 hours; though, in specific people hives may persevere for months or years. A drug used to give allergic asthma, omalizumab (Xolair injection), was permitted in 2014 to treat chronic urticaria in persons with no reply to antihistamines.
Read more:https://medium.com/@menaturals890/what-are-7-common-skin-problem-82ff73a365ab
The name of this appliance 3F stands for Form Follows Function. This is an appropriate name, since the physical body of this vacuum cleaner can change form and expand to suit the task required. The inspiration for this product comes from ballet dancing: while at work it resembles a skirt, floating gracefully over your floor. Whether used in compact or wide mode, it is a vacuum cleaner providing efficiency, smartness and empathy to the user. 3F will not only save you time and space, but will also surround you with cleanliness and fragrant scents of your choice.
Country: France
Designer: Germain Verbrackel
University: Industrial design, EDNA (Ecole de Design Nantes Atlantique), France
Submission: electroluxdesignlab.com/en/submission/3f-vacuum-cleaner/