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Motion control head I designed around a pair of surplus precision worm gearboxes. The vacuum infused carbon fibre covers are largely superficial/protective, they were my first experiment in directly CNC machining a mould. I machined the aluminium parts on my CNC router and anodized them at home.
Because the head was constructed around existing gearboxes its a little larger and heavier than I would like, weighing around 5KG but supporting loads upwards of 10kg.
Previous: Exposure correction in Preview Panorama
The alignment algorithm evidently knows to sacrifice those control points that it considers hopeless. This view indicates the discrepancy between the control points. Those that align well are shown as dots. Those that could not be aligned are connected with lines showing the residual distances.
This begs a question: why didn't I ditch the second frame? I tried. The result was even worse. However awkward its orientation seems to be, it helps to join the frames 1 and 3 where it matters most — at the skyline.
The distance view makes it easy to understand the orientation of the original frames. For example, it shows very clearly that point of view of the second frame (of which only a portion is visible) was a few steps away from the more-or-less shared point of view of the other frames.
This screenshot is best viewed in the original size because the dots and lines are one pixel wide. They vanish when the image is scaled down.
Pictures of my Classic Space inspired display presented at "Une tonne de briques" expo held on June 3, 2018 in Saint-Basile-le-Grand, Quebec.
Timber is planed and shaped by machine but each item is fed by hand to enable quality control at the same time.
Working on attaching the control rod to the lower leg: tried a fixed joint, but the control rod always seemed to be in the wrong place, so I rigged up a flexible joint. There was a lot of strain for my wrist lifting the leg in certain positions, so I started playing around with this fore-arm brace, which seems to be helping (needs a little more hardware)
Esta es mi contribución a la "Exposición Control" de Manchester.
This is my contribution to the "Control exhibition" in Manchester.
He creado para la exposición "CONTROL" dentro de este espacio llamado easa010 en Manchester una escena que podría pasar en cualquier hogar.
En esta fotografía podemos ver a dos personajes, una madre y un padre que están enfadado por algo que hizo su hijo.
This is my personal contribution to the "Control exhibition" in Manchester.
For the “Control” exhibit, part of the easa010 in Manchester, I created a scene that could take place in any home.
In this photo we can see two people, a mother and a father, that are mad about something their son has done.
In one of the rooms, I brought a typical English family’s living room to life. The room has different elements: one wall is wallpapered with a floral print and there are two walls with windows through which you can see the garden. All the decorations are presents given to the family. The house is immaculately clean with the vast quantities of decorations organised on the shelves.
The concept is to have the child on the opposite side of the exhibition space. i.e. The parents on the left wall and the child on the right wall of the exhibition space. The wall between them has a window showing the tranquil garden, with the ornaments arranged on the window ledge below.
The image shows us despair and tension in a room that is visually separated by the window leading to the tranquil garden and decorations. The atmosphere of despair is caused by the child, who is drawing on the wall, while the parents express their {…} at the child’s behaviour.
This association between the parents and the child is a metaphor for the relationship between people who want to keep social traditions and the people who are free from society’s {…} This represents the control that society possess over the freedom of individuals. People blindly obey these social conventions without questioning why??? and without considering any alternative directions in which to live their lives.
Society dictates the means of living your life, you have to progress through 5 steps in order to have a successful life in the eyes of society.
The 5 steps:
1ª Have a good degree.
2ª Have a good job.
3ª Have a house.
4ª Have a husband or wife.
5ª Have kids.
People blindly obey these social conventions without questioning why??? and without considering any alternative directions to live their lives.
This represents the control that society possess over the freedom of induviduals.
En una de las habitaciones del espacio “Control”, he representado un típico salón de familia.
El papel de la pared es con flores y hay dos paredes con ventanas, a través de las ventanas se puede ver el jardín. Todas la decoración son regalos que han sido dados a la familia. La casa está inmaculadamente limpia, cantidad de objetos se han organizado en los estantes a modo de decoración.
El concepto es tener al niño en el lado opuesto del espacio de exposición, donde están los padres. Es decir. Los padres en la pared izquierda y el niño en la pared de la derecha del espacio.
La pared de enfrente, la que está en medio de los padres e hijo, tiene una ventana que muestra el tranquilo jardín, en ella se puede ver los adornos familiares colocados en la repisa de debajo.
La imagen nos muestra desesperación y tensión en este salón separado del tranquilo jardín por un muro físico de ornamentos.
Esta atmósfera de desesperación es causada por el niño, que está dibujando en la pared, los padres expresar disgusto por el comportamiento del niño.
Esta relación entre los padres y el niño es una metáfora de la relación entre las personas que desean que las tradiciones sociales sean conservadas y las personas que son libres.
La sociedad dicta el camino que se debe seguir para vivir la vida, usted tiene que progresar a través de 5 pasos a fin de tener una vida exitosa a los ojos de la sociedad.
Los 5 pasos:
1 ª Tener una buena carrera.
2 ª Tener un buen trabajo.
3 ª Tener una casa.
4 ª Tener un esposo o esposa.
5 ª Tener hijos.
Las personas a ciegas obedecen estas convenciones sociales sin cuestionar el por que y sin considerar direcciones alternativas para vivir sus vidas.
Esto representa el control que la sociedad posee sobre la libertad de los individuos.
The control centre is the Dalek's stronghold. It is scratchbuilt from card, although the 'authentic' Dalek bumps that make up its decor are humble lentils.
Another one from the archive. This was a part of the upstairs control room. To my left, out of frame, was a massive wall unit that curved from one end to the other. Lighting was really low up here.
One of a large selection of wagon labels I have that were recovered from a derelict building at the former Faslane Junction, near Shandon, on the West Highland Line (WHL) in 1980.
This building served as the main control office for all arrivals and departures using Faslane Sidings and Faslane Port on the Gareloch.
This was a new piece of railway built in 1941 as a Military Railway using a new connection from the WHL to the above mentioned Faslane Port which by 1941 had been selected as 'Military Port No.1' , so selected as a safe port away from the Luftwaffe. The line was almost 3 miles long and descended steeply to sea level with gradients up to 1 in 49.
The port became fully operational in 1942 and was in Military use until 1946 when Military use of the port ceased.
There was seven exchange sidings at Faslane junction reputed to be able to hold 1000 wagons, however traffic levels were so high that additional sidings were built at Ardmore and Graigendoran on the approach to the WHL and the loop at Helensburgh Upper was extended to accommodate the longer trains on this busy section.
After the end of Military use the line was retained but the former double track section from Faslane Junction to the port was single lined. It saw regular use up to 1983 for trains of scrap metal from the ship breaking activities that the former Military Port was used for. Secretly it was also retained and maintained for strategic use as by this time part of the former Military Port had become Britain's home for the Polaris Nuclear Submarines and at that time rail connections to military installations was still regarded as of major importance. When the Lochside road, the A814, was upgraded in the 1960s the former level crossing at Belmont was replaced with an overbridge.
With the development of the former Shipbreaking area in the mid 1980s for the Trident Missile Submarine base the bridge was removed and new roads were built so ending any chance of the use of rail in a national emergency.
Living locally I was well aware of the 'Faslane Branch' and remember the Class 20 hauled Scrap Trains. The buildings , sidings and branch line were easily accessible to explore down as far as the overbridge and of course not venturing onto the WHL !
One day I was having a good look around the large building at the Junction . It was trashed inside and the glass in all the windows was broken but otherwise a lot of furniture remained as did some railway equipment. Downstairs there was a large room on the floor of which was a huge mound on paper. On closer examination these turned out to be wagon labels obviously removed from all arrivals, then threaded to a long piece of string and stored by hanging from the ceiling. With the passing of the times these had all perished and dropped to the floor forming this large mound. Realising their significance I 'rescued' as many as I could and these are just some of hundreds I have.
They form a time capsule of the activities of the railway during the war and the many locations that were involved in forwarding Coal, goods, mails and weapons etc to Faslane.
Some of the wagon labels show Craigendoran as the destination, some even state Shandon, but in all instances Faslane was the final destination.
With further detective work it would be possible to identify the ships or Convoys the assignments were destined for.