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Clearly visible here are the Simplex gear stops on down tube and chainstay and Gillotts' own Osgear dropout brazeon. This frame has ONLY this bracket for the tension arm. The 49 Curly Cut is similar. The orange 51 Spear has the chainstay tab.
Kleine Brogel, Belgium
17 July 2007
Belgian Air Component
Belgian Air Force, 11sml,
MT-35, CM-170 Fouga
Sadly the flight was good for this pass.
Because you asked, here's a description of the making of Helium Head.
Though I was giddy and lightheaded with this idea, getting in the air required more than inhaling some helium. My first attempt had me hanging by my hands from a tree branch I could reach by jumping. My camera was mounted to my tripod which was laying on the ground with the camera head angled up. Even with my lens zoomed out to 18mm, I couldn't get my whole body into the frame. I had to get higher, so using a ladder was the answer.
To keep from breaking any limbs (mine, not tree limbs), I set my ladder next to a tree and lashed it to the trunk so that when I was at the top, the ladder wouldn't tip over and put me on my head. After about 4-5 attempts of pushing the shutter button set on a 10 second timer, scrambling up the ladder and turning to sit sideways on the top step (try hanging onto a ladder with just your butt) I was able to get a shot I was happy with. (I suspect I entertained, or perhaps worried my neighbors with all this activity as well) In post production, I used a layer mask and black brush set to about 80% edge hardness to remove the background from around my body.
Next shot was to get a separate photo of my head against a blue sky so I wouldn't have to do any work cutting out around my hair. I moved to a new location, making sure I was still facing into the sun. I added a strobe to the camera to reduce the shadows under my brow, nose, chin, and in my mouth, then held back my collar so that it wouldn't be included in the enlarged head photo. In post-production I used a layer mask to cut-out my head and place it into the body image, then used the warp tool to reduce the size of my neck to fit into my smaller collar opening.
I shot the top branches of a tree to add to the bottom of the photo to help with the illusion that I was rising above the ground. I blurred the tree branches to give them the appearance in the final image of being farther away and not the main focus of the image. Blurring the branches made my feet appear extra sharply focused and helped separate them from the background.
Lastly, I pulled a photo of clouds from my stock "Clouds" folder (I often shoot pictures of just clouds to keep for later use) and composed them into the shot for a little extra detail. Color adjustment, contrast, and spot sharpening was done to the overall image and wallah - 4 hours later I was done!
Everything you need to create a CircaPDA, except for the punch: Punched cards, discs, and the front and back covers. In this example, I used "Rollabind" discs, which are nearly identical to the same ones Levenger sells. Levenger has far superior customer service to the Rollabind people, though. A few craft stores carry Rollabind discs, but you will likely need to go online to buy them.
My whole house mediacenter solution:
Family Room
47” 1080p Vizia LCD
Main Mediacenter (Vista X86)
Theater Room
Xbox 360 (Gaming)
MCE05 (Still using MCE due to videocard and sound decoding issues)
Panasonic AE900U 720p LCD projector (140” screen)
Gallo Reference Mains and center
Gallo Micro rears
4 AE IB 15’s subwoofers located in the ceiling
Bedroom
50” 720p Vizia Plasma
Linksys DMA2100
Extra Bedroom/Workout room
Old Toshiba 36” tube tv
Xbox 360
Home Automation is controlled by Mcontrol
80% of my lights are zwave switches.
TZ 16 Zwave Thermostat
EzRain Irrigation controller
Elan Z630 pre-amp for multizoned audio(house is divided up into 3 zones)
EasyFlash is a cartridge for the C64 expansion port. In contrast to traditional cartridges, this one can be programmed directly from the C64.
Please take a look at www.retrocomputers.eu for more info about my retro computer collection.
PictionID:44811651 - Title:Atlas Payload Component - Catalog:14_014447 - Filename:14_014447.TIF - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
In September 2017 the transformer of 92016 was found to have been cracked and the locomotive dragged away for storage. When working from the overhead wires the 25 kV AC power must be converted to 1370 volt AC so that it can be used by a class 92 locomotives traction motors. This is done by the transformer which is positioned underneath the locomotive towards the cab 2 end of the common zone but much of it is obscured by the batteries and transformer tank filled with oil used for cooling and insulation.
This shows the starter motor which was suspected as needing replacement ($400) or repair. Turns out it could be a simple electrical replacement or maybe the starter is pulling too much load and caused the melt.
Swee Lan's sleeve, Tim Kelley, Harit Talwar, Bill Chapin, Bhaskar Menon, Marcela & Roberto Alonso, Nancy Goodman, Ron Zettel, Ronaldo Freitas, Phee Boon Kang, Norma Freitas, Jack Berger Marie Zettel, Lilly Zeller, Vicky DeMeo, Mary Jo & Dick Kovacevich, Jeanine Farhi, Art Zeller, Alain Farhi (partly obscured)
AM I PAYING TO BE PROMOTED?
No. You are paying for the seminars, and while I strongly encourage everyone to be present for the seminars, it is not required. You may show up for the second half only. But, again, I strongly encourage everyone to be present for the seminars. It helps us with organization, expresses to the instructors that you are interested in learning, and fosters a team oriented environment.
WHAT ARE THE STANDARDS FOR BEING PROMOTED?
Under the Capital flag you must demonstrate the 3 Ts: time on the mat, toughness and technique. Visualize a triangle, where technique is on top. On the bottom are time and toughness. Those who are very tough might have the time requirement reduced (but not below the minimum). Those with a great deal of time might have the toughness requirement reduced. Also, other variables may be taken into consideration. For example, one of our newest members is beginning his Jiu-Jitsu journey at 70 years young! Modifications will be made to ensure his journey is both challenge and rewarding!
WHAT ARE THE TIME REQUIREMENTS?
A blue belt takes an average of 1.5 years. A purple belt takes an average of 5 years. A brown belt takes an average of 7 years. A black belt takes an average of 10+ years. Most of the practitioners who tested for black belt had between 12 and 17 years of experience, and the pass rate was about 50%.
WHO MAKES THE DECISION FOR ADVANCEMENT?
Three instructors, including at least one black belt, must approve any promotion.
WHY DOES THE FORMAT KEEP CHANGING?
It’s been consistent for the last two years. However, we do expect that slight changes will be made as time goes on. We always seek feedback from students, peers and our instructors to make things better. The current format is: seminars (optional), sparring, promotions, gauntlet (optional), and group picture.
ETIQUETTE
At promotions events every practitioner should wear a laundered Capital branded white training kimono. This is the equivalent of wearing formal attire for a special occasion, like a wedding. Also, it is extremely impolite to ask an instructor about being promoted.
WHAT DOES THE NAVY BLUE BAR MEAN?
Royce Gracie and the Valente Brothers wanted to honor Helio Gracie’s life and legacy by wearing the navy blue belt that Helio wore. Going forward they are asking representatives to wear the navy bar (excluding white belts and new black belts). For more information about Grandmaster Helio Gracie’s decision to wear the navy belt visit: graciekentucky.blogspot.com/2010/06/why-did-grandmaster-h...
DO YOU HAVE ANY SUGGESTIONS FOR PUTTING A NAVY BAR ON MY BELT?
The easiest thing to do is purchase athletic tape: www.amazon.com/s/ref=nb_sb_noss_2?url=search-alias%3Daps&...
I BELIEVE YOU MADE AN ERROR REGARDING MEMBER X, BY PROMOTING/NOT PROMOTING HIM….
Think about a Jiu-Jitsu competition. Is it possible, from time to time, for the referee to make an error? Of course! It is also possible for the decision makers at our semiannual gatherings to make errors. However, as practitioners progress, more scrutiny is applied to their rank, and ultimately 40 - 60 black belts will test them. At that time practitioners must demonstrate the complete stand-up self-defense curriculum, striking, clinching, grappling and philosophy (the 753 Code).
I caution those who dwell on the rank progress of others, especially as it compares to their own. Instead I encourage you to apply your vigilance to your own journey in the gentile art.
DO I NEED TO BE AT THE PROMOTIONS EVENT?
To be promoted to the next color belt, yes. Technically, to be promoted with stripes on the purple and brown belt, also yes. However, we needed to honor time constraints at Saturday's event, and stripes for deserving practitioners will be awarded this week and in January.
IS THE GAUNTLET HAZING?
What is the difference between a healthy ritual and hazing? What in fact is hazing? According to Wikipedia: "Hazing is the practice of rituals and other activities involving harassment, abuse or humiliation used as a way of initiating a person into a group.” Does the gauntlet qualify?
Couldn’t we define the gauntlet as a rite of passage? Google defines a rite of passage as, "a ceremony or event marking an important stage in someone's life, especially birth, puberty, marriage, and death.” While I don’t know of any peer reviewed research articles, the overwhelming consensus is that there are tremendous psychological benefits to being included in a rite of passage.
There’s also acknowledging that our ritual is far less dangerous than the activities which led to it. Whether it’s the rigorous exercise, intense sparring rounds, competitions or the black belt test. In fact, Professor Pedro Valente noted that we are training to be effective in a proven fighting system. To take a hit is not only to be initiated, it's an essential component of our training.
I am not familiar with many of the reasons why people haze, and personally, I have never been involved in a hazing ritual. The gauntlet is our rite of passage; a tradition handed down to us by our elders. I am opposed to taking away or intensifying the gauntlet tradition. Our tradition is about the student, and I don’t believe that practitioners at Capital MMA experience some perverse pleasure in seeing people suffer. Rather, we are celebrating with the newly inducted.
I believe that the gauntlet tradition should only be carried on in the presence of the black belt instructors, exclusively at our semiannual promotions events. Also, it is our charge as black belts to educate junior members of our tradition, and how we conduct ourselves during the rite of passage. Injury, abuse and humiliation are never our objectives.
Finally, this tradition is, and always will be, optional. However, our requirements for being promoted are not. The rigor, intensity, and sacrifice experienced by senior practitioners is significant.
Multi-Component Inspector Kit (MCIK) for Complementary Access (CA)/DIV Inspections
Safeguard Equipments - Extended Multi-Component Inspector Kit (MCIK) with visual observation, physical characteristics, chemical identification, radiation measurement, display and processing and geolocation instruments and accessories. IAEA Vienna, Austria, 3 October 2018
Photo Credit: Dean Calma / IAEA
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-16-538
NATIONAL GUARD AND RESERVES: Air Force Needs to Consistently Assess Personnel Requirements to Appropriately Size Its Headquarters Reserve Components
Ramsey Campbell's botanic Green God (it is actually nameless) and its Children from his short story "The Horror under Warrendown" were the basis for this custom Great Old One for Arkham Horror 2nd Ed..
I wanted to incorporate both threats in a rather simple fashion, without extra game material, so that the Green God can be easily integrated into the basic game and its expansions. Therefore, the standard Cultists were employed as The Green God's mutated, rodent-teethed and rabbit-like Children, and they became part of a kind of race sub-plot that adds threat but also offers players the option to counter it.
When a Child of the Green God appears through regular play, it will dash across the board and potentially open an additional Gate, speeding up the Great Old One's awakening and releasing some more Monsters onto Arkham's streets.
The Children themselves are not very dangerous, but they are fast and hard to confront, so that players better act fast to stop them. However, a confrontation with them is potentially dangerous, too, because Investigators might become infected with the Green God's mutagenic matter, initiating the slow but hard-to-stop transformation into a Child, which will eventually try to open a new Gate! This conforms not 100% with the literature background (only the Green God is "infectious"), but it's a nice players' threat.
With six Cultists in the basic game and a few more in the expansions, this will not happen frequently, though.
However, as a threat balance, the curse-induced transformation also starts with ANY Curse the Investigators might catch!
The final battle relies on a similar pattern, based upon being Cursed and starting to gradually mutate into Children of the Green God.
Components made in Kaga. Japanese 17th–18th Century. Helmet signed Kashuju Kinyama Kuemon. Royal Armouries, Leeds, UK
4130 chro-mo tubing, including fork; Sugino VP triple with 52/44/36 teeth & 175 mm cranks; MKS Sylvan pedals (they and the bottom bracket all spin freely and happily); low-end Suntour α-3000 derailer (which suggest circa 1987-89 if original) paired with basic Shimano shifters (discontinued after mid-1990s.)
Mid-fork braze-ons for lowriders or a rack. A 700 x 32C Kenda Qwest fits in the fork with room for carefully installed fenders, but I'm not sure I could get one in the back. Horizontal rear dropouts, integrated rear cable stop for center-pull cantis. Kuwahara Cyclone headset. Heavy-duty quill stem that I should have taken a photo of.
20 lbs as found. I am just a sucker for derelict bikes.
[edit] Snooping around on forums yields a best guess that it is a Kuwahara Parkway. The crankset seems to be an upgrade, and likely the SunTour ders as well. Although a 700c wheel fits in the front (and possibly might just fit in the back) the brake posts would be in the wrong place, unless one wanted to buy fancy brakes that are worth way more than the bike (...or an add-on bracket that sits on the existing posts and provides newer ones higher up/further from the hub.) So a 26" touring mtn cruiser it is!
When this rideable, this will be a boon companion to the Kuwahara Blazer mixte I got rolling last year.
update: serial #86123562 seems to indicate a date-of-manufacture in Dec 1986, which jives with the earliest estimate based on the derailleur line.
All the parts in the kit are labeled with "R1", "C2", etc. This makes for a VERY speedy assembly as I didn't have to stop and identify parts before installing them.
date : 1997
description : this proposal was for six glass houses to have been sited in orchard Street, Derry/Londonderry, in Northern Ireland. the site is adjacent to the city wall, on either side of the newgate bastion, and the wall at this place would have been an integral component of the artwork. each glass house would be sixteen feet long, seven feet wide, and nine feet high, and be of 13mm toughened and laminated glass construction in an anodised aluminium and irish oakwood frame. each glass house would contain soil to a depth of about two feet, with three horticultural luminaires suspended above the soil. the soil would be taken from the exact line of the political border between the Republic of Ireland and Northern Ireland, being thoroughly dried and sterilized before installation.
1997 artist's statement
intellectual context : thinking which seems to prevail in the west, in the latter half of the 20th century, has begun to question how we construct the world as such. we read that spoken language is the basis of this structure, and that our linguistic relationship to the things around us is representational. we re-present things in the physical environment by words, and by doing this we are able to fix them into a linguistic world structure, as objects standing in reserve for the use of a technological society. this is how we have capitalized on our relationship of dominance over them. that we have begun to question this dominance or ownership, has perhaps been prompted by recent events in the physical environment. much contemporary art tries to deal with the relationship of subject to object (or the denial of this relationship) and of our understanding of time on which it founds itself. this often results in works of apparent abject, naked desperation, because when social structure is placed in jeopardy, there is no world. my current thinking concerns an anomaly in this artistic setup, in that it is precisely just that. what I say is that these experiments can never be anything more than the examples of how to deconstruct, and not actual deconstructions, so long as they take place under the auspices of the construct 'Art'. what is so intriguing about this project in Derry/Londonderry, is that it will take place in a street, of a city, of land that has known abject desperation. there is no need to find it, or manipulate it into art. it is simply here in people's memories, and this could lay open the unique possibility for real development in language. i anticipate that people will write on the surface of the glass houses. in fact, spray painted 'graffiti' (slogans like 'IRA' and 'UVF') would be a catalyst for the meaning of the work. but to discourage the possibility of more vigorous inscription, and to encourage a feeling of personal and community investment in the work, we should develop a strategy aimed at creating the right atmosphere around the project, and for disseminating information about its basic elements. as part of this initiative, i would live and work on site, for the duration of the project.
concept : the glass houses pertain to their situation, and they perform as one component of a work of art that can be viewed and thought about. like any work of art, they operate at the periphery of colloquial language, in a domain of ambiguities. i can attempt to write some of these down, but the list is by no means definitive:
• with careful design and construction, the six glass houses could be seen as special places of sacred nurturing. almost like small temples. but they would also be empty of life, with dry sterile soil, almost like dust. their internal space would be quite distant; is that the distance of the spiritual or of the incarcerated?
• a warm glow from the horticultural luminaires inspects the soil for signs of life, but it also gives a dark, and distant glimpse of prison lighting.
• the soil they contain is taken from six places on the exact boundary between two political structures. it has become thoroughly mixed up in the process, and it rejects all claims to ownership. any territorial slogans spray painted onto the glass would instantly become associated with colourful flowers in a greenhouse.
• the city wall is an important part of the artwork. the impregnability of its defensive structure as such could be interrogated, when seen through the glass houses.
• territorial marking is a language composed equally from territory and marks. it is already well established in Derry/Londonderry, and is a language perhaps more symbolic and spatial than signifying and linear. because the soil within the six glass houses would reject any claim to ownership, when the first writing does take place on their surface, a new more poetic syntax would be formed. a written language that cannot be derived from dominating speech, but which can only be written as a subtle difference from the surface on which it is written.
• in effect it would reduce 'territory' to ground, and reinstate marking as arche-writing.
• a mythogrammic language such as this might have ancient associations, and to refer to Doire or Daire seems right. this is why the main stanchions and beams of the glass houses are to be made from irish oak wood. the whole space here could be an oak grove of the mind.
Type 306 stainless rods, nuts, hex cap screws, and washers. Aluminum bar stock to secure the battery.
The light sensitive cells or CCD upon which the image from the lens falls. The individual cells or pixels of the CCD are discharged varying amounts according to the amount of light falling on them and then they are "read" by the rest of the electronics to make up the video image.
Simple isnt it!
NORTH ARABIAN SEA (July 12, 2008) Aviation Electronics Technician 3rd Class Travis Prater, from Paris, Texas, checks components on an interconnection box used for inputting information on circuit cards used in the aircraft aboard the Nimitz-class aircraft carrier USS Abraham Lincoln (CVN 72). Lincoln is deployed to the U.S. 5th Fleet area of responsibility to support Operations Iraqi Freedom and Enduring Freedom as well as maritime security operations. U.S. Navy photo by Aviation Electronics Technician Airman Ashley Houp (Released)
Multi-Component Inspector Kit (MCIK) for Complementary Access (CA)/DIV Inspections
Safeguard Equipments - Chemical substance identification completed using the Portable RAMAN laser spectrometer IAEA Vienna, Austria, 3 October 2018
Photo Credit: Dean Calma / IAEA
Tester Bed (Lit à la Duchesse en Impériale)
•Maker: Georges Jacob (French, Cheny 1739-1814 Paris)
•Factory: Tapestry made at Beauvais
•Artist: After a design by Jean-Baptiste Huet I (French, Paris 1745-1811 Paris)
•Date: ca. 1782-83
•Culture: French, Paris
•Medium: Carved, painted and gilded walnut, pine, and linden; iron hardware; silk and wool Beauvais tapestry; modern silk damask
•Dimensions:
oOverall (bed components installed): 156¾ (Height) × 73½ (Width) × 86¾ in. (Depth) (398.1 × 186.7 × 220.3 cm);
oHeadboard: 79½ (Height) × 73½ in. (Width) (201.9 x 186.7 cm);
oTester at rectangular frame: 78 (Width) × (Depth) 90½ in. (198.1 x 229.9 cm);
oGreatest dims. of tester including protruding crestings: 17 (Height) × 96 (Width) × 99½ in. (Depth) (43.2 × 243.8 × 252.7 cm);
oHeight of Canopy from Floor: 156¾ in. (398.1cm)
oMatteress Support: 80 × 64 × 3½ in.
•Classification: Woodwork-Furniture
•Credit Line: Gift of Kingdon Gould, in memory of his mother, Edith Kingdon Gould, 1923
•Accession Number: 23.235a
On view at The Met Fifth Avenue in Gallery 523.
As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782-83 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745-1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as it was customary to pile them with three or more mattresses filled with straw, wool, horsehair, or feathers. Tobias Smollett (1721-1771) noted in 1766, “French beds are so high, that sometimes one is obliged to mount them by the help of steps.”[1]
The custom of receiving visitors while reposing in a large and elegantly fitted out bed was practiced in France during the eighteenth century mostly by aristocratic women. The Museum’s imposing piece of furniture with its exquisitely carved floral decoration, the work of an unknown carver, must have formed a splendid backdrop for such official calls or congratulatory visits. In 1791 the bed is documented as standing in the large bedchamber of Guyonne-Marguerite de Durfort de Lorge, duchesse de Choiseul-Praslin (1737-1806), at her Parisian home, the Hôtel de Belle Isle. Following the turmoil of the Revolution and the political changes of the early nineteenth century, the bed was sold in Paris in 1830. It became part of the famous collections at Hamilton Palace, South Lanarkshire, Scotland, the residence of Alexander Hamilton Douglas, tenth Duke of Hamilton (1767-1852), where it was placed in one of the state rooms. The duke’s grandson sold the contents of the palace, including the bed, at a highly anticipated auction that took place in 1882. Through the intermediation of several dealers, the bed was acquired in 1897 by the financier and railroad executive George J. Gould (1864-1923). His wife, the former actress Edith M. Kingdon (1864-1921), used it in her bedroom of their New York town house.
[Daniëlle Kisluk-Grosheide, 2010]
Footnotes:
[1]Tobias George Smollett. Travels through France and Italy. London, 1766. New ed.: Introduction by James Morris. Travellers’ Classics 11. Fontwell, Sussex, 1969, p. 43.
Signatures, Inscriptions, and Markings
•Signature:
oStamped on Base of Headboard: G. IACOB
Provenance
Possibly ordered by comte César Gabriel Choiseul-Chevigny, 1st duc de Praslin; or ordered by comte Renaud César Louis Choiseul-Chevigny, 2nd duc de Praslin; duchesse de Choiseul-Praslin Guyonne-Marguerite de Durfort de Lorge, Hôtel de Belle-Isle, Paris (by 1791); [sale, Grand Bazar, Paris, July 12, 1830; to J.E. Quinet, for Alexander Hamilton] Douglas, tenth Duke of Hamilton (?); Dukes of Hamilton; William Alexander Louis Stephen Douglas-Hamilton, 12th Duke of Hamilton , Lanarkshire (until 1882; Hamilton Palace sale, Christie, Manson and Woods, London, July 18, 1882, lot 1912, for £ 1,155; to Edward Radley); [Edward Radley (in 1882)]; [Lowengard Frères (by 1893/94)] ; [Duveen Brothers (until 1897; sold September 1897, for $3,300 to George J. Gould)]; George Jay Gould (from 1897); Kingdon Gould (until 1923; to MMA)
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
Joline Blais introduces permaculture principles at the start of Still Water: What Networks Need to Thrive (amongst the results of the previous week's Scrapyard Challenge) at the School of Cinematic Arts Gallery, University of Southern California.
Part of Redesigning Reality, a series sponsored by USC's Visions and Voices [web-app.usc.edu/ws/eo2/calendar/113/event/893758].], Media Arts and Practice PhD program [imap.usc.edu/]. and Institute for Multimedia Literacy [iml.usc.edu].