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blog.ted.com/2010/06/fellows_friday.php
From pollution-eating robots to abstract animated films, TED Fellow Cesar Harada is involved in an ocean of projects. He was able to squeeze in this interview with TED, where he talks about architecture, his love of the sea and a special cartoon cat.
What are the most important things you're working on right now?
The project I'm working on right now is called the "Energy Animal." I had the first iteration when I was working for the British government Renewable Energies Department at the University of Southampton in the Fluid Mechanics Laboratory.
I built a prototype that makes energy from the waves, the wind, and the sun simultaneously. It's a device that can be working in any type of weather condition, anywhere. It doesn't necessarily produce a lot of energy, but produces it steadily.
I'm still working very much on the World Environment Action. It's in coordination with Ushahidi [another TED Fellows project]. Three weeks ago I was in Kenya working on this environmental monitoring software that I'm going to use in the next application.
Since two weeks ago I am a researcher at MIT SENSEable City Lab and I am working on the project I mentioned before called Energy Animal. We're trying to build devices that make energy while collecting pollution -- apprehending pollution as a resource. Originally I was commissioned by MIT to collect the North Pacific Garbage Patch, but I've been redirected to work on the Gulf of Mexico oil spill, so now I am designing a machine to collect oil. It will use oil as a combustible, as a gasoline fuel to actually move around. The idea is to make autonomous robots that would swarm around and collect garbage or different types of pollution.
I'm designing not one specific device, but a floating open source design "framework" so it can generate many other boats for different applications. It can be used for the oil spill, or the North Pacific Garbage Patch or even for fresh water to purify, for example, the Laguna Venice, where the prototype will be presented for the International Architecture Biennale to represent the MIT SENSEable City Lab.
I am now pushing the lab staff to help me make this robot self-replicating: a robot that can fabricate its own children. Since we are collecting a lot of raw material, the best use we can make of that material is fabricating more robots to accelerate the cleaning. So that means that you make a robot, and if it accumulates energy and raw material, it can build, if you want, a baby -– the same of its own. So it's very futuristic. That is also why we are not working at solving this precise problem but more for longer-term.
We have problems that are very big, like the North Pacific Garbage Patch, and we never have the money to actually build an entire fleet. So we'd rather build a fleet that builds itself!
How will one device feed off of completely different types of pollution?
What I was saying about "framework" -- it's very much like the evolutionary process. You can't have a robot that does everything. The idea is that we build a framework, for example from a simple kind of boat, and you can swap organs. So say that you go for the oil spill -- you will have some oil combustion chamber. In Venezia you will have some anaerobic digester so it will make energy from gas -- methane, propane -- from organic waste digestion, and also create fertilizer. And if it's in the case of the North Pacific Gyre, it will collect the plastic, process some of it, and some will be reused to fabricate more raw materials. So the robots themselves will be made of plastic.
Read more of this interview with Cesar Harada after the jump >>
(Continued)
You have different labs like the "Energy Animal" that make up your overarching project, Open_Sailing. Tell me more about this project.
The purpose of Open_Sailing is to build an International Ocean Station. That's really the main target. Whatever the intermediary experiments we're doing, the objective is the International Ocean Station. So if NASA has as a target to explore space, Open_Sailing's would be to explore the ocean, and to do so, involving probably inventing this new generation of devices.
Open_Sailing has many different applications. For example the Instinctive Architecture could be inhabited human beings. For the Energy Animal, it's autonomous drones. The Nomadic Ecosystem are moving farms. They are designed for a world even without humans.
ABOVE: Cesar and a Nomadic Ecosystem float prototype
You compare your project to the International Space Station. A lot of expertise, money and time were invested in that. You've said you expect to achieve something comparable with a fraction of the resources. Why are you convinced you can succeed?
The first reason is that many, many people have access to the sea, so the testing ground is near us. Secondly, I'd like to actually probably moderate what I said because I said this when I was quite early in the research. And a few days after I wrote these words for the first time, I went to meet Professor Masubuchi in the MIT Center for Ocean Engineering. He happens to also have been the chief welding engineer of NASA for the rocket that went on the moon.
We had a long discussion and I asked him why we don't have already an International Ocean Station if we already have an International Space Station. And he told me that it's because the International Ocean Station is much more complicated to make. And that is also why he himself was transferred from NASA to ocean engineering –- because the ocean is the next frontier.
Space is empty, cold, and the gravitational forces are very predictable, depending on where you are in space. You can deploy these very huge solar panels, like 100-meter long solar panels, with almost no support because there is little gravity. It's mostly empty space, it's cold and there's no acidity.
But in the ocean you have the mechanical action of the waves, some of which impact can be tens of tons per square meter. You have salinity, UV, winds, strong currents all the time, and the conditions are changing very, very quickly. In other words the surface of the ocean is very, very difficult. And on the bottom you have extreme high pressures, darkness….
How did you move from architecture to designing ocean structures?
I'm not a qualified architect, I didn't graduate from architecture. My family is in construction. Most of my uncles are structure engineers in Japan, which is subject to a lot of earthquakes, so since I'm a kid I've been building houses and participating in architectural plans for buildings. When I was in Kenya, again, I was construction manager, so I'm not an architect officially but I'm an architect in the fact. Also my father actually is a professor in an architecture school. These 2 last years I was assistant of the Architect Usman Haque, Angel Borrego Cubero and the biochemist Natalie Jeremijenko.
I've always been passionate about the ocean. Since I was a kid –- before I could walk -- I was a very good baby swimmer [laughs]. Actually the first time I went to the hospital, it was because when I was four years old, I was left alone and I went smashing myself in the waves. I was found on the beach side, my lungs full of sand and my nose cavity full of pebbles. So I had to have my first operation to remove the pebbles out of my nose when I was four.
ABOVE: Cesar on his boat, Vela
And since I'm passionate about sailing and windsurfing … that is also why I'm in MIT, because a few minutes from the office I can sail. So 3 or 4 times a week I am windsurfing and sailing now. I'm really happy here.
Let's talk about World Environment Action.
World Environment Action is a website that is crowdsourcing environmental data. The idea is that to be getting everybody to participate to create the most reliable and multi-platform service. We are using Ushahidi, which is a crisis reporting system, so people can use their mobile phones, they can send just a simple SMS, MMS, they can make a phone call, or they can go directly on the website w-e-a.org and report an environmental problem.
The idea is very simple. If you are passing in front of some environmental damage, you can just take a picture with your mobile phone and you upload it to the website, and almost in real time –- maybe just a couple of hours after because we have to moderate every post -- then you will be able to see this environmental report, amongst a lot of others. So the idea is that everybody can become an environmental activist. You don't have to be part of an NGO, or you don't have to be part of a government, or claim that you belong to anybody, you can just actively report and take action against environmental problems.
Ushahidi was started by two TED Fellows. Can you tell us more about that partnership?
The whole TED experience instantly bounded a TED family that one can only be delighted to be part of. I was looking for partners in software development and environmental monitoring, I found Erik Hersman and the Ushahidi project. I was looking for good programmers, I found Jessica Colaco. Together Erik and Jessica are building the iHub in Nairobi, the Kenyan innovation incubator that will soon be the hottest place in mobile application development in East Africa.
ABOVE: Jessica Colaco, Erik Hersman and Cesar Harada: A TED Fellows Coalition
I brought them an ambitious project clearly answering the question TED asked: "What the World Needs Now." The answer: a powerful environmental governance. We are currently looking for partners and contributors for this world-changing project. We can make it happen, together.
Let's talk about the films you've produced.
Films used to be my goal, but now I consider them only a way to share ideas. So I actually studied animation film until I was 23. I made a couple of things but now when I look back at them I feel they are very intimate and poetic.
Maybe three weeks ago I just republished a film that I re-masterized. One is called Arvo Part -- it's a remix of Arvo Pärt, one of my favorite composers, and it's really abstract. The second is called disponible (available), a roadtrip I made in nature on a boat I fabricated for the purpose of the film.
What cartoon character are you most similar to?
I wish Doraemon! Doraemon is a mechanical cat. He's such an important character. Basically he's a big lazy cat and he's really funny and ingenious. He has a big pocket in front of him like on his belly here, and he always pulls out the craziest gadgets from it. He's the best product designer in history.
Anything else before we wrap up?
I have to stress that a lot of what I do is very propositional. The International Ocean Station is a very, very big endeavor, and the World Environment Action is the same –- it's a very ambitious project. What MIT has asked me to solve are global-scale problems.
Look at me, I'm just a little guy, I do my best, I don't sleep very much already, I don't know how much I can do for the world, but I have lots of ideas and I try hard. I really consider myself a contributor. Even if in my lifetime none of the stuff that I'm talking about and working on everyday exists before I die, it's ok. If I can contribute to the fact that it comes into existence one day, for me it's a very big satisfaction.
Posted by Alana Herro
This image is copyright © Silvia Paveri. All right reserved. This photo must not be used under ANY circumstances without written consent.
Questa immagine è protetta da copyright © Silvia Paveri. Tutti i diritto sono riservati. L'immagine non deve essere utilizzata in nessun caso senza autorizzazione scritta dell'autore.
Woodcut device (94 x 69 mm.) of Denys Roce, depicting his arms on a shield, supported by two griffins, hanging from a rose tree with a dog lying at its foot and Roce's monogram "DR" in the background, the whole surrounded by the words ALAVENTVRE TOVT VIENT APONIT QVI PEVT ATENDRE DENIS ROCE (the S in Denis reversed). "[T]hird of Roce's four devices ... The coat of arms may be the legitimate arms of the printer, who had come to France from Scotland. The dogs in the device denote alertness and the scallop shell is the emblem of pilgrims to the shrine of St. James of Campostella [sic]. The rose tree is, of course, a pun on Roce's name."--M. Harman, Printer's and publisher's devices in incunabula in the University of Illinois Library, no. 31. Printed in an incunable edition of St. Augustine's De virtute psalmorum (Paris : Etienne Jehannot for Denis Roce, between 26 June 1500 and 29 May 1501; ISTC ia01352000).
Established heading: Roce, Denys, active 1490-1517
Penn Libraries call number: Inc A-1352
Penn Libraries catalog record
Composants électroniques (focus stacking).
Image composée de 11 photos assemblées avec CombineZP.
Electronic devices (focus stacking).
Lynx Optare Tempo FD54JYF, snapped in Hunstanton bus station and framed appropriately by trees in the park opposite
Schirmer Farms (Batesville) Operations Manager Brandon Schirmer, sprays defoliant on one of the fields at his father's multi-crop 1,014-acre farm, in Batesville, TX, on August 12, 2020. Mr. Schirmer has already contacted the Texas Department of Agriculture to let them know that he will be spraying a defoliant to promote the cotton plant's leaves to drop off and bolls to open in preparation for harvest approximately 14-days later. The plant remains alive and will continue to produce cotton unless the field needs to be replanted for another crop to improve soil health or for economic opportunity. The sprayer vehicle has location and system data that is accessed by a smart-device app. The app allows him to show authorities detailed records of what, where, and how much was sprayed. He uses this historical spray data to improve future harvests. The liquid concentrates are carefully measured and safely poured into the sprayer's mixing system. Once in the cotton fields, the sprayer with its 90-foot-wide spray arms will deliver defoliant to the plants just below the nozzles.
Schirmer Farms operates in consultation with an agronomist for science-based recommendations for all soil, crop, and harvest management.
Brandon Schirmer is the sixth generation of the Schirmer farming family.
USDA Photo by Lance Cheung.
Device of Josse Badius: printing press
Penn Libraries call number:
GC B6557 509d All images from this book
Penn Libraries catalog record
Andrew Rizzi 38/52
Meet The Person:
Andrew Rizzi. Sales Representative & Central US Field Triner
Andrew enjoys being a respected consultant and advocate for his customers. My greatest thrill is the knowledge that he sells and provides for medical products and devices to hospitals to help them provide care for patients in critical need. He enjoys the challenge and competition and the hard work to prove that the company, products and services best represent the customers’ needs. He also enjoys helping and motivating his colleagues to drive sales and provide the best service possible. Andrew has now been with Baxter Healthcare for seven years, with a sales territory in central and southwest Ohio. He has been a five-time consecutive Sales Award Winner, and the inaugural Division Sales Representative of the Year, 2011.
Outside of work, Andrew enjoys spending time with his loving wife, Julie, and of course, their three Chihuahuas - Mia, Kingston & Gizmo. They also enjoy stand-up comedians and city festivals. Whenever they are fortunate enough to have the opportunity, they enjoy traveling and experiencing new places, both domestically and abroad. Andrew also savors the opportunities that they have to visit with their friends and families back in PA/NY. Although his competition days are over, he still enjoys maintaining a high level of physical fitness and anything active.
Andrew earned his B.S. in Marketing from Lehigh University in 2005 and his M.B.A with a Finance Concentration from the University of Cincinnati in 2013.
As a wrestler, Andrew started wrestling as a freshman in high school with a record of 2-14. He ended his career with a winning record. At Lehigh, he was a varsity starter for the the 2nd ranked NCAA Division I Lehigh University Wrestling Team. He finished 6th individually at the E.I.W.A Conference Championships (top 5 places qualified for NCAA’s.) To Andrew, it was an incredible privilege to compete at that high of an athletic level and contribute to a prestigious program.
Andrew is grateful for and to his Mom, “Mom Riz.”
Influence:
Rizzi. Rizz dog. The Rizza.
Rizzi was a good friend and teammate in high school. We wrestled together at Pennridge and enjoyed some fun times outside of the room as well. Andrew was one of the hardest working kids I had ever met. Everything he did was 110% and he never held back.
Rizzi started wrestling very late, as a 9th grader (atypical for most good wrestlers these days) and didn’t have a lot of experience. But he had a ton of drive and determination. He wasn’t the best wrestler by any means, but he was the hardest worker. His work ethic was by far the best in our wrestling room. And that work ethic helped him become very successful not only on the mat but outside as well. Rizzi went on to Lehigh University and also made the wrestling team. And if you know anything about the wrestling program at Lehigh you know it’s a top 20 team perennially. So cracking that lineup is an amazing accomplishment. So not only do you need to juggle an ivy league education but you also have to juggle weight loss and a grueling schedule to boot. Nobody could handle that better than he could!
I always looked up to Rizzi. I was a year under him in school so he was that older kid who you wanted to model your work ethic after. He had a motor that just wouldn’t stop. It would actually be annoying sometimes because he would always make you look bad! When you were tired and had nothing left in the tank, he was the one going harder and faster. We would lift and workout together which obviously helped as well because, again, he would try and lift more than you every time! He was also a fantastic student in school. His mom was an English teacher at Pennridge as well. And, coincidentally, I had her as my English teacher (god bless her! haha)
Andrew’s mom was basically our team mom. We would go and spend a ‘study hall’ with her after school for 30 minutes or so before practice got started. So we would spend time in her room just hanging out, getting work done and relaxing. She would bring in snacks and granola bars and stuff for us to eat. She was our wrestling mom and we loved her. But very sadly during my senior year, Mrs. Rizzi passed away unexpectedly from a blood clot. It was devastating. I still remember where I was when I got the phone call and heard the news. It was one of the closest people I had in my life at the time that died. And it was not fun. I felt so bad for Andrew, his mom was such a big influence in his life. It was also a huge blow for our entire wrestling team. She was such an incredible lady and meant a great deal to everyone on that team. Her viewing was so emotional. Like I said, she was one of the closest people I had in my life to pass away. Add to that how incredibly sad I felt for Andrew and that just made it miserable. But as with anything in life, you have to pick yourself back up and move forward. It came at a tough time with Andrew going off to college as well. So he struggled for a while. But as he had throughout his entire life, he worked hard and he came away with some great things. Like wrestling D1 for Lehigh, getting his degree, landing a great job he enjoys and just this past weekend, marrying his fiancee that he met at Lehigh.
Rizzi and I had some good times in high school, hanging out, wrestling and lifting. But one thing I will never forget was when he was up at Lehigh and invited me to hang out. It was my first year at Bucks County Community College and I was living at home and working construction with my dad. He was up at college, living in a wrestling house and having a good time. It was not long before this that my sister got diagnosed with a brain tumor. Times were extremely rough for me then. My grandfather was diagnosed with Pancreatic cancer and died within three months. At the same time we found out about my sister. So when he asked me to come up and hang out with him and some teammates, I was really excited. I would go up on Tuesday nights during the week to go bowling with them. It was something like $1 games and $1 beers so naturally, we took advantage! I went up a handful of times and really enjoyed hanging out with him and the wrestlers. I really felt like I was part of their group and they were a bunch of nice guys. It was something that I really needed and was a great release for me. I know the type of guy Rizzi is and I know he wanted to help me out. And I just want him to know how much that meant to me during that time. I am sure the experience of losing his mom helped him in his understanding of what I was going through. And to be able to learn from a tragic experience of losing your mother to helping out a friend who was worried about losing his sister is pretty incredible. And I can’t thank him enough for that.
Thanks Rizz for always being the gold standard of the student athlete, for having a work ethic that would make even the hardest workers jealous and for being a great friend.
For my coming Jabba's palace I've built some technical device. I've made an instruction to see how I used some SNOT-techniques.
For my coming Jabba's palace I've built some technical device. I've made an instruction to see how I used some SNOT-techniques.
Most of the iOS devices I currently own (few are loaned out currently).
Pictured here (from top left to bottom right):
iPad 3 Black GSM/LTE
iPad 2 White CDMA
iPad 3 Black CDMA/LTE
iPod Touch 1st Gen
iPod Touch 2nd Gen
iPod Touch 3rd Gen
iPod Touch Black 4th Gen
iPad 1 wifi
iPhone 4S White GSM
iPhone 4S Black CDMA
iPhone 3GS Black
iPhone 3GS White
iPhone 5 Black GSM/LTE
iPhone 5 White CDMA/LTE
iPhone 4 Black GSM
iPhone 4 White CDMA
iPhone 3G
iPhone 1st gen 4gb
iPhone 1st gen 8gb
Apple TV 2nd gen
Apple TV 3rd gen
Not pictured:
iPad 1 GSM
iPad 2 Black GSM
iPod Touch White 4th Gen
another iPhone 3G
several other Apple TVs
Starring Robert Lansing, Lee Meriwether, James Congdon, Robert Strauss, Edgar Stehli, Patty Duke, Guy Raymond, and Chic James. Directed by Irvin S. Yeaworth Jr..
James Congdon plays While a bit obscure, 4D Man (4D for short) is more of a low A-grade movie than a B-movie. For one thing, it's shot in color. It has some A-grade actors, and some cleanly done optical special effects. As in many sci-fi films, the technology isn't the star, but a plot device to propel a larger human drama. In this case, it gives the main character a special power. How he handles (or mishandles) that power is the meat of the tale.
Synopsis
Tony Nelson is talented scientist who is obsessed with his research, to the point of having a hard time keeping a job. He is trying repeat an earlier fluke success at getting one material to pass through another. (a pencil through steel) He travels to see his brother, Scott Nelson (Robert Lansing). Scott heads up a research lab trying to make a metal stronger than steel -- Cargonite. Scott convinces Tony to accept a job at his lab, but this only complicates the social scene. Scott was about to propose to co-worker-scientist Linda. Instead, Linda falls in love with Tony. Frustrated at all this, Scott goes to the lab late one night and gets into Tony's secret apparatus. He manages to get it to work. His hand passes through the steel. Meanwhile, another lab scientist, Roy, has stolen Tony's notes and is trying to sell the facility's director on the idea, so he can be a chief scientist himself. When Scott and Tony re-try the experiment in the lab, it works, even though the equipment wasn't working. Scott has "the power" all by himself. He tells Tony that he doesn't want anyone to know just yet. A newspaper headline tells of a bank robbery. The next morning, Scott sees that he's aged noticeably. Passing through matter ages him. He rushes to a friend's apartment for help, but when he touches the friend on the shoulder, the friend drops dead, his body aging to a gray shriveled corpse. Scott, however, was young again. His special power also saps life from others. He hides the amplifier so no one else can share his power. Things quickly unravel. Scott confronts his credit-stealing boss and saps him. Scott tries to find solace in a bar, with a floosie, but kills her with a kiss. The police know there's a killer on the loose. Tony tells the police all about it. The police cannot stop Scott, however. He shifts through walls, touches (and kills) policemen, and even a hail of bullets cannot stop him. He just shifts himself and the bullets pass through him. Scott finds out that Tony is trying to build another amplifier, so returns to the lab. Tony, Linda and the police try to kill Scott by turning on the reactor while he's inside it. (this is where Scott hid the amplifier) This fails because he is invincible when shifted. Everyone but Linda flees. Scott tries to talk her into running away with him. While in an embrace, she shoots him with the gun the detective left behind. Unshifted Scott is mortally wounded, but defiantly shouts his invincibility. To prove it, he throws himself into the Carbonite reactor, slowly disappearing into it's walls. The End (?)
The premise and human-interest angle are interesting and well done. The A-level actors do a good job making their characters believable. Robert Lansing does an excellent job with Dr. Scott Nelson -- both his frustrated awkward "before" self and the tormented-yet-maniacal "after" self. Given how many later movies (or TV shows) would take up the idea of people being able to pass through walls, etc., it's fun to see an early version.
This movie isn't an allegory of the Cold War. There is an oblique connection to the dangers-of-science sub-genre. A background element of the Cold War years, is the research lab working on improved materials for the military. Nelson's work isn't with any nuclear weaponry, but how it goes dreadfully is still an understated cautionary tale about how even innocent research can create a killer.
The quasi-science behind the premise, is that Scott can (at will) shift the "time" of his body relative to objects, permitting him to pass through them. The more he does this, the faster it ages him. While fanciful, this has a plausibility. The portrayal of "time" as a life force which he can then absorb from others has no plausibility, but it makes for a good plot device.
An interesting plot device is how Scott Nelson must drain the life from people in order reverse his own rapid aging. He does this by simply "touching" (merging) with them. The trope of the living sacrificed to prolong another's life, is not unique. It got (and gets) used in low-B movies like She Demons ('58) in which a mad scientist extracts hormones from young women (turning them into ugly demons) in order to keep his sick wife alive. In 4D, however, the "monster" drains life from them by a mere touch. This is a fascinating preview of the Wraith in the Stargate TV series (2005) -- race of beings who must "feed" on living humans in order to survive. The idea still has legs.
Another plot aspect which is not unique to 4D is how the man who acquires some amazing power can't handle it. For the sci-fi world, this appeared in H.G. Wells' novel "The Invisible Man." His special feature tempted him into tyranny. Once a man feels immune to the hand of justice, he commits crimes with impunity. Scott Nelson is no different in 4D. We see his morality drop away and his total human selfishness take control. He gets professional revenge on his credit-stealing boss. He robs a bank and tries to induce LInda to run away with him. At the end, he shouts, "I'm invincible! Nothing can hurt me!" with a well acted mixture of defiance, denial (he'd just been shot) and pleading. An interesting little human psych study of how man might behave if he no longer fears punishment.
An intriguing little twist amid the plot was how Scott's power was not totally under his control. By force of will, he could "turn on" his time-shift to pass through walls, but when he stopped willing it, objects were solid to him. At one point, he's trying to grab the door knob to a bar, but keeps passing his hand through it. At that moment, he wanted to be "normal" but his power was not so completely under his control. A little while later, when he wanted some companionship and kissed the B-girl, she screams in pain and turns into an old woman, then dies. Scott was becoming a sort of King Midas who ruins everything he touches. This adds a degree of pity to the character. With the "cool" power, he could never be normal again.
4D's producer, Jack Harris, and director, Irvin Yeaworth brought us The Blob in late 1958. 4D has some family resemblance. Color, big-name stars, and brassy jazz score. 4D and The Blob may have been shot together in '57. Young Patty Duke plays a bit part of a landlady's daughter, but she looks maybe ten years old -- noticeably younger than she was in 1959. Universal may have intended to release The Blob and 4D Man together, but opted to spread out the releases for better revenue.
The score in 4D is heavy-handed brass jazz band fodder. Such jazz was pretty typical stuff of 50s movies which held the Rat Pack and Las Vegas show scene as the pinnacle of cool. The score of 4D seems like a cross between a 007-wanabe movie and the Pink Panther -- but without any of Mancini's style. Given the rather dark story line, the loudly perky jazz seems out of place. Instead of enhancing the story, it intrudes, like someone talking loudly in the theater while you try to watch the flick. Unless the viewer is a fan of such brassy nightclub jazz, it's more likely to be annoying than admired.
Bottom line? 4D is worth the time. It's a modern Midas tale reasonably well done. The science is weak or a tough stretch, but the story can be enjoyed anyway.
Universal File Manager - itunes.apple.com/us/app/universal-file-manager/id66997958...
MANAGE FILES:
Create new folders
Share by Wi-fi, Bluetooth, Dropbox
Search files
Archive files
Edit files by copying, moving, renaming or deleting files.
TRANSFER FILES BETWEEN PC AND DEVICE:
Wi-fi server to transfer files with PC
IMPORT AND SHARE FILES:
via Wi-fi / Bluetooth between devices,
import files from Gallery, Camera, Dropbox
OPEN FILES - view documents
PDF files (. Pdf),
Microsoft Office Word (. Doc,. Docx), Excel (. Xls,. Xlsx),
PowerPoint (. Ppt,. Pptx), text (. Txt,. rtf)),
archives (*. zip, *. rar, * .7 zip),
images (. png,. jpg,. bmp,. gif,. jpeg),
video files (. mov,. mp4, .3 gp,. m4v)
audio files(. mp3, .caf, .aac, .wav).
Open files in other apps
BROWSER - navigate and download images, music, videos
and other files.
MUSIC - listen music and work in the programm at once
FDA scientists observe elevated ozone levels while testing a device claiming to use ozone to clean Continuous Positive Airway Pressure (CPAP) machines. To date, ozone gas has not been proven to be safe or effective for this use. While cleaning your CPAP is important, most CPAPs can be cleaned safely and effectively with mild soap and water as described in the owner’s manual, with some manufacturers recommending the use of diluted vinegar.
Scientists from left to right: Kenneth Aycock, Ph.D., Staff Fellow; Nandini Duraiswamy, Ph.D., General Engineer
This photo is free of all copyright restrictions and available for use and redistribution without permission. Credit to the U.S. Food and Drug Administration is appreciated but not required.
FDA photo by Michael J. Ermarth
The military comes up with the most high tech of devices that we civilians dont see on a daily basis.... here is one of them.
hope you all like it!!!
For my coming Jabba's palace I've built some technical device. I've made an instruction to see how I used some SNOT-techniques.
Image d'un circuit intégré contenant le BIOS (Basic Input Output System) d'un ordinateur. Cette image a été réalisée à partir de 33 photos (focus stacking).
I believe this was the thing used for lowering a baker into the river to nearly drown him for baking loaves that were too small. For shame.
For my coming Jabba's palace I've built some technical device. I've made an instruction to see how I used some SNOT-techniques.
Schematic of Advanced Photon Source canted insertion device configuration. Credit Argonne National Laboratory.
OLYMPUS DIGITAL CAMERA
mirrored image in a restaurant in a glass cabinet, the picture is backwards by 180 degrees.
Must be post processed but my device = no crop (essays)
Window with letters, ><40 feet
IMHM has an extensive collection of medical artifacts in storage. Due to space constraints, you won't be able to see these artifacts if you visit the museum, but we wanted to share a behind-the scenes look at some of our more interesting items.
Woodcut printer's device of Johann Setzer of Haguenau.
Established heading: Setzer, Johann, -1532
Penn Libraries call number: GC5 M4804 523a 1526
Ramsay, Calgary
This sculpture by New York artist Dennis Oppenheim was rejected by Stanford University, his alma mater, and subsequently purchased by a Vancouver foundation who erected it in Harbour Green Park in downtown Vancouver. Controversy followed the upside-down church and the Vancouver Public Parks Committee voted to remove it. Calgary's Glenbow Museum jumped at the opportunity to display it and here it seems to have found a home.
Our bathroom at the Hotel Novanox *** in Paris. Located on the Boulevard Montparnasse. I caught my reflection on the shower door.
AG2R La Mondiale
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A robotic laser aligned device provides precision measurements across multiple surfaces of a cast and machined product made at Port City Group’s Port City Castings Corporation who manufactures high-pressure aluminum die-castings, mostly for the automotive industry, in Muskegon, MI, facility on Wednesday July 20, 2011. Port City Group boosted its employment by 12 percent over last year thanks to two Rural Business Guaranteed Loans totaling $9.6 million. In its 80,000 sq. ft. facility, machines that range from 800 – 1,600 tons, and cast A380 aluminum alloy products from melted ingots of aluminum, into automotive components of U.S.A. made vehicles. The process features a variety of robotic presses; computer controlled machining; quality control facility; and complete measurement and testing laboratory. In 2009 banks were backing out of loans for PCG equipment purchase agreements. The U.S. Department of Agriculture (USDA) loan guarantee helped make the loan possible with its guarantee. PCG obtained the needed robotic and other equipment. This resulted in a stable workforce that has since grown. When asked about their USDA experience, Port City Group Sales Manager Laura LaGuire said, “It was great! They were very helpful. Everything that came up was handled smoothly, the money came in place when it was needed, and it was a very smooth transition.” USDA Photo by Lance Cheung.
FDA scientists observe elevated ozone levels while testing a device claiming to use ozone to clean Continuous Positive Airway Pressure (CPAP) machines. To date, ozone gas has not been proven to be safe or effective for this use. While cleaning your CPAP is important, most CPAPs can be cleaned safely and effectively with mild soap and water as described in the owner’s manual, with some manufacturers recommending the use of diluted vinegar.
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St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.