View allAll Photos Tagged Device
FDA scientists test devices that claim to use UV light to clean Continuous Positive Airway Pressure (CPAP) machines. To date, UV light 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: Ilko K. Ilev, Ph.D., Senior Research Physicist, and 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
A wonderful artist’s concept of space shuttle orbiter & shuttle carrier aircraft operations at the KSC Mate-Demate Device (MDD).
The featureless horizon & configuration (I think) of the MDD both suggest KSC, I think. ¯\_(ツ)_/¯
I’m sorta thinking by Rockwell International artist Manuel E. Alvarez.
For those not familiar with this device it is called a urinal. These are guy things. If this is original to the building it is at least 85 years old; still standing proud and serving. Rumor has it that some urinals found in some Woman Marine barracks were used as flower pots.
Connected devices in the modern cloud. Data is shared everywhere.
When using this image please provide photo credit (link) to: www.bluecoat.com/
EEE Magazine
August 1970
Volume 18, Number 8
p38
Nick DeWolf Of Teradyne Speaks Out: Speed Kills (cont'd)
____
when I say "slow" with reference to IC characteristics I don't mean glacial. When you do something in 50 nanoseconds, you're taking less time than it takes a typewriter key to move a quarter the wavelength of light. That's speed, no matter how you cut it. The problem is that what most people really want, if they only realized it, is results, not speed. They want to perform a given job in the shortest amount of time. People who test devices often use the term "productivity." Let me use an example to show that productivity and speed are not the same thing.
Suppose you're testing transistors, many thousands of them a shift, making 10 tests on each one and throwing them into bins on the basis of tests passed. Suppose each test takes 20 milliseconds. You can double productivity by cutting that test time down to 10 milliseconds, right? Wrong.
First, you find yourself bumping into some laws of physics. The transistor needs some time to achieve the desired test state and a measurement made too early might be invalid. Second, at 20 milliseconds a test you are probably already testing transistors faster than your mechanical handlers can operate. Third, you can really increase productivity by working out a test procedure that will eliminate superfluous and redundant test - in other words, one that will drop the transistor into the right bin with the smallest possible number of tests. This kind of planning can increase productivity by 30 or 40 percent.
Then figure out how to multiplex and time-share and use distribution curves and yield data to set bin priorities, and you might raise throughput by another 100 percent or so. That's what productivity is all about - not trying to puch ICs to their last nanoseconds.
Or, to put the matter in the latest context, consider the problems confronting those who want to test LSI devices. The fastest ICs anyone has dreamed up still fall pitifully short of doing the trick, because now you're involved in making, instead of a few dozen tests per device, n to the nth to the nth of them. Here speed doesn't kill; it simply fails. So again we attack the problem by reducing the number of tests required, through the generation of complex patterns.
Another factor that makes the speed race pretty academic is the amount of time required to program computer-controlled systems. And let's face it, computer control will soon overspread the whole range of electronic instrumentation. Once you enter the computer world, the key limitation isn't imposed by the speed of the magnetic memories, but by the level of complexity that you can tolerate. (Law: All things are as complex as the people involved can tolerate.)
A gang of monkeys sitting at typewriters for 40 years couldn't write the programs for what a computer-controlled test system can now accomplish in half a second. And future generations of test systems will even further outstrip programming ability.
That's the heart of the argument, really. We already have more speed than we know how to use. Our ability to absorb, reduce, and use information is limited not by some DTL gate plodding along at 50 nanoseconds but by the bandwidth of the people operating the system. There's a new paper shredder outside mu office. It shreds the paper none of us has time to read, and I have a dark suspicion that it is the paper shredder that ultimately will set the pace for all of us.
EEE
Who is Nick DeWolf
Even his friends feel that Nick DeWolf is a bit of a maverick. The president, director and cofounder of Teradyne just doesn't do things the way most of us would. When he left his job as chief electronics engineer of Transitron 10 years ago (he was the second employee), he didn't just shift into a job that was waiting for him. Instead, he took a year off to think and plan or, to use his own words, "to scheme."
He decided he wanted a partner so, instead of looking for a man with his own background and ideas, he sought one with entirely different experience. He found an old school buddy, Alex d'Arbeloff, who had been involved in South American real estate and who had worked for several companies that folded. This was Nick's way of preparing for lean years - but they never came. Teradyne has been an outstandingly successful manufacturer of equipment for automatic component testing.
Nick is a tall, gangly redhead who punctuates his remarks with frequent laughs, flailing gestures and a variety of sound effects. His family wanted him to be a banker but, as he expresses it, "I'm too skinny and I never played football well enough."
He calls his design philosophy creative pragmatism, which he spells out in terms of building better Mack trucks or doing well known things well. Despite his talk of sticking to "known" things, he's a compulsice inventor and has been since he took his BSEE at MIT in 1948. But he prefers to see himself as an architect. Thus, he didn't "invent" his company's SLOT machine (a Sequential LOgic Tester), he "architectured" it.
Nick, who walks to work (briskly), and his wife Maggie have six little DeWolfs and the biggest milk bill on Beacon Hill. When he's not running Teardyne, Nick is a sometimes (and expert) photographer, an avid skier and a civic leade who specializes in crossing the generation gap.
38
part of an archival project, featuring the work of nick dewolf
© the Nick DeWolf Foundation
Requests for use are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
During technical rescue training, a rescuers manages a controlled descent device in a rope system.
NPS Photo
The Mandell Weiss Forum by Antoine Predock. A mirrored wall screens the building, though the mirror is a one-way device. So, the building hides behind the mirror and makes the eucalyptus grove seem larger, but you still get to see the grove if you're in the building.
This is Amstr@ds e@sy route to the internet . @ll you do is to plug it in and it logs you on @nd you are up and running . . . .in blue @nd white.
You can tell I typed this on @n em@iler c@ant you.
Incidentally the screen is showing my flikr home page
"Red Lips" - six color print by John Wesley, at the Axelle Fine Arts Silkscreen Studio
Although he was part of the original group of POP Artists and was included
in the three Pop Art Print Portfolios, Wesley, a native Callifornian, has
been slow to gain the recognition he deserves. In POP ART: A Continuing
History, Marco Livingstone notes that Wesley used a "straightforward linear
technique associated with such non-art sources as cartoons, comics and
coloring books" (82-83) and used "gentle humor . . . framing devices,
symmetry, and tactics of repetition as essential ingrediants in the
production of paintings that appear to be innocent in an obviously childlike
way but are in fact meditative in atmosphere and sophisticated in their
formal construction" (208). Meditative they may be, but if innocence is
present it is often that of those who ought to know better. As a press
release foor the January-February 2001 exhibition of his work at the Harvard
University Art Museums points out, "Wesley has been painting acutely sexual,
intensely observed, narrative paintings for more than 40 years. The
conspicuous characteristics of his work since the early seventies-its
insistent flatness, powdered pastel palette, cartoon/cinematographic
narratives, embrace of the sexually charged encounter, sophisticated
anthropomorphism, and mannered drawing-have enormous appeal for younger
painters inspired by a digital revolution to rethink the medium: Wesley's
painting looks like nothing else out there.
A recent retrospective at the Museum of Modern Art's P.S.1, Wesley's first
in the United States, reflects this new interest in a painter who first came
into prominence in the early sixties. Staged against the backdrop of the
more extensive MoMA/P.S.1 retrospective, John Wesley: Love's Lust is
selective rather than comprehensive, featuring work from the sixties through
to the present in an effort to look more closely at Wesley's allegorical
subject matter and sophisticated formal innovations. 'Wesley's compelling
approach to painting encourages the viewer to question the reasons for his
eccentric creations and in doing so forces us all to ponder his intended
message,' said James Cuno, the Elizabeth and John Moors Cabot Director of
the Harvard University Art Museums. 'Wesley has never lacked for attention,'
said Linda Norden, the curator at the Fogg who organized the show. 'But
critics have been eager to characterize rather than analyze the art for fear
that looking too closely would kill off whatever it is that works. This
exhibition is meant to show that exactly the opposite is true. Wesley's
paintings can be frighteningly funny, poignant, and just plain weird; but
there is a complex pictorial intelligence driving this body of work.' "
The Harvard show "includes a wide selection of acrylic-on-paper paintings,
which Wesley usually enlarges on canvas. Two wall cases contain some of the
traced drawings he uses to compose his paintings. Surprisingly, these
tracings reveal how little is fixed by an apparently mechanical means of
reproduction: Instead, what becomes quickly apparent is Wesley's mastery of
subtle shifts in scale and placement. Over the last ten years, Wesley has
taken another turn in his paintings, opening spaces between figures,
substituting distance for repetition, and conveying character less through
facial expression than by developing a complex mannered line. This seems to
be John Wesley's moment: John Wesley: Love's Lust offers an overdue
opportunity to examine the work of an artist who has long been loved, but
never taken quite seriously enough."
The Curator of John Wesley: Paintings 1961-2000, a retrospective held during
the autmn of 2000 at P.S. 1, a branch of The Museum of Modern Art, has a
slightly different perspective. Alanna Heiss, P.S.1 Director, says"Wesley's
work stands eerily apart. He mixes images of traditional emblems, historical
figures, comic book personalities, animals, sexy women, athletes and
showgirls into surreal daydreams, prompting the viewer to rejoin her own
private dream-world." This exhibition includes works ranging from his
earliest paintings (Stamp, 1961) to his most recent-Showboat, 2000. To
accompany this retrospective, P.S.1 has produced a catalogue including new
essays by Brian O'Doherty and Carolyn Christov-Bakargiev, an interview with
the artist by Alanna Heiss, a chronology by Hannah Green, and an anthology
of other significant texts and color plates. Wesley is known for his
consistency of palette (baby blues, cotton-candy pinks), his use of painted
"frames" within his pictures, his early emblem paintings, his cartoon
Bumstead paintings, and ultimately for his representations of an inner
erotic voyage where we are both the voyager and the voyeur.
After moving from his native Los Angeles to New York in 1960, John Wesley
began showing his work at the Robert Elkon Gallery in 1963. Donald Judd
became an early supporter of Welsey's work at that time. In a review of that
first New York show he wrote "...the forms selected and shapes to which they
are unobtrusively altered, the order used, and the small details are
humorous and goofy." Initially considered in alignment with pop artists of
the early 60s, Wesley consistently produced works of such a subtle and
subversive nature as to put him in a category of his own. He used the early
tools of advertising production (tracing paper and stock photographs).
Influences on his work range from Surrealism to Art Nouveau, from ancient
Greek pottery to Matisse. Wesley's colorful and figurative style also
reflects the "flat" world of comics and posters. His secret life is ours;
the works uncover the private world of a dreamer, where the dreamer is the
protagonist, the artist, and the viewer. They are icons proclaiming the
sanctity of our subconscious wanderings.
Selected Bibliography: In addition to discussions of Wesley in such standard
works on the POP Art Movement as Judith Goldman, The Pop Image: Prints &
Multiples (NY: Marlboroush Graphics, 1994), Marco Livingstone, POP ART: A
Continuing History (NY: Abrams, 1990), see R. H. Fuchs, Kasper Konig, et al,
John Wesley : Paintings 1963-1992, Gouaches 1961-1992 (Frankfurt: Oktagon
Verlag, 1993-Catalogue of a travelling retrospective held in Frankfurt,
Amsterdam, Ludwigsburg, and Berlin between July & Oct. 1993); Alanna Heiss,
John Wesley: Paintings 1961-2000 (NY: P. S. 1-MoMA, 2000).
[Source]
Read: A Conversation with John Wesley by Marianne Stockebrand
Preventing deception is the job of anti-counterfeiting devices like the transparent window in the (all-plastic) Australian 10-dollar bill.
For Macro Mondays "deception" challenge.
The Web Everywhere: Multi-Device Web Design
Luke Wroblewski, CEO & Co-Founder of Input Factory Inc.
The web no longer starts and ends on our desktop and laptop computers. Today, the tremendous growth of mobile devices is turning more and more people into multi-device and, as a result, cross-device users. Designing for this reality requires new ways of thinking and building for the web.
Join Luke Wroblewski, author of Mobile First (A Book Apart, 2012), for this in-depth look at today’s multi-device ecosystem. Learn how mobile provides a foundation for this new reality, how to build on this foundation to reach an ever-increasing set of devices, and where the web will take us next.
An NRC staff member surveys for contamination using a radiation detection device.
Our photo usage guidelines can be found here:
Visit the Nuclear Regulatory Commission's website at www.nrc.gov/
For those who wish to leave a comment or feedback please send via email to opa.resource@nrc.gov.
Photo Usage Guidelines: www.flickr.com/people/nrcgov/
Privacy Policy: www.nrc.gov/site-help/privacy.html
ENGLISH
“LOST” The Survivors
Lost is an American serial drama television series. It follows the lives of plane crash survivors on a mysterious tropical island, after a commercial passenger jet flying between Sydney, Australia and Los Angeles, United States crashes somewhere in the South Pacific. Each episode typically features a primary storyline on the island as well as a secondary storyline from another point in a character’s life, though other time-related plot devices change this formula in later episodes. The pilot episode was first broadcast on September 22, 2004, and since then four full seasons have aired with a fifth currently in progress. The show airs on the ABC Network in the United States, as well as on regional networks in many other countries.
Due to its large ensemble cast and the cost of filming primarily on location in Oahu, Hawaii, the series is one of the most expensive on television.It was created by Damon Lindelof, J. J. Abrams and Jeffrey Lieber and is produced by ABC Studios, Bad Robot Productions and Grass Skirt Productions. The score is composed by Michael Giacchino. The current executive producers are Abrams, Lindelof, Bryan Burk, Jack Bender and Carlton Cuse.
Critically acclaimed and a popular success, Lost garnered an average of 16 million viewers per episode on ABC during its first year. It has won numerous industry awards including the Emmy Award for Outstanding Drama Series in 2005, Best American Import at the British Academy Television Awards in 2005, the Golden Globe for Best Drama in 2006 and a Screen Actors Guild Award for Outstanding Ensemble in a Drama Series. Reflecting its devoted fan base, the series has become a part of American popular culture with references to the story and its elements appearing in other television series,commercials, comic books, webcomics, humor magazines, a video game and song lyrics. The show’s fictional universe has also been explored through tie-in novels, board and video games, and alternative reality games, The Lost Experience and Find 815.
In May 2007, ABC announced that Lost will conclude in its sixth season with its 120th and final episode airing in May 2010.Season six will consist of seventeen episodes. Episodes from the first four seasons of the series have begun airing in off-network syndication in the U.S., distributed by Disney-ABC Domestic Television, on G4 and Sci Fi.
Created by JJ Abrams, Jeffrey Lieber, Damon Lindelof.
With Naveen Andrews, Matthew Fox, Jorge Garcia.
The JELQ device is a penis enlargement exercise device that simulates the jelqing method of natural male enhancement. The JELQ device has a proven success rate, with 82% of men reporting a permanent increase in penis size. The JELQ device is completely unique, browse our website www.penis-enlargment-exercises.net for more information.
Part II :-
Russian Variants :-
**ZSU-23-4V ''Shilka'' (1968) modernized variant with enhanced reliability of some details, ventilation system case located on the right side of the hull, Commander Vision Device was added.
**ZSU-23-4V1 ''Shilka'' (1970) modernized variant with enhanced reliability of Radar System and other details, ventilation system cases located on front bilges of the turret. Guidance-System Computer was improved (as well as accuracy and efficiency of Anti-Aircraft Fire on the move at 25mph, its is fitted with a slightly improved V-6R-1 diesel engine.
**ZSU-23-4M ''Biryusa'' (1973) armed with modernized Autocannons 2A7M, pneumatic loading was replaced with pyrotechnic loading (unreliable compressor was removed) welded tubes of coolant outlet were replaced with flexible pipes which increased Autocannon Barrel life from 3,500 rounds to 4,500 rounds.
**ZSU-23-4MZ ''Biryusa'' (1977) the Z stands for ''zaproschik'' - inquirer, equipped with Identification Friend-or-Foe System ''Luk'' all ZSU-23-4M were upgraded to ZSU-23-4MZ level during scheduled repairs. It should be noted that Army unofficially continued to use the name ''Shilka'' for all variants of ZSU-23-4.
**ZSU-23-4M2 (1978) so called ''Afghan'' variant, re-equipment performed during the Soviet War in Afghanistan for mountain combats. Radar System was removed and night-sight was added. Ammunition increased from 2,000 rounds to 4,000 rounds.
**ZSU-23-4M4 (1999) modernized variant developed by Ulyanovsk Mechanical Plant, the vehicle was armed with two additional paired Man-Portable Air-Defence Systems ''Igla'' (on each side of the turret) and equipped with laser emission sensors, electron-optical vision devices (including television system for Driver) and improved Weapon Radar System. Mechanical transmission was replaced on hydrostatic transmission, hydraulic boosters were installed. Mobility increased to the level of Main Battle Tanks. First shown to the public during exhibition MAKS-99 exhibition in Zhukovsky and was carried out by the Minotor Service Enterprise and Peleng Joint Stock Company from the Republic of Belarus, and the Ulyanovsk Mechanical Plant of Russia. The Ulyanovsk Mechancial Plant is also offering ZSU-23-4 upgrade packages independently.
▪︎Type: Self-Propelled Anti-Aircraft Gun
▪︎Place of Origin: Soviet Union
▪︎In Service: 1960 to present
▪︎Designed: 1957 to 1960
▪︎Manufacturer: Ulyanovsk Mechanical Plant (UMZ) / Mytishchi Machine-Building Plant (MMZ)
▪︎Unit Cost: U.S $357,000 (export price to Libya, 1972/73)
▪︎Produced: 1964 to 1982
▪︎Number Built: About 6,500
▪︎Mass: 19 tonnes / Length: 21ft 5.3in / Width: 10ft 3in / Height: 8ft 5.4in - 11ft 8.6in) with Radar elevated
▪︎Crew: 4 (Commander / Driver / Gunner / Radar Operator
▪︎Armour: Welded steel - 0.36in turret / up to 0.59in hull
▪︎Main Armament: 4 x 23mm 2A7 Autocannons (AZP-23 ''Amur'' Quad Automatic Anti-Aircraft Gun) 2,000 rounds
▪︎Powerplant: V-6R, 6-cylinder 4-stroke airless-injection water-cooled 20-litre diesel engine, 280hp 2,000rpm
▪︎Power / Weight: 14.7hp / tonne
▪︎Suspension: Individual torsion bar
▪︎Ground Clearance: 14.8in
▪︎Fuel Capacity: 11.2 Imperial gallons
▪︎Operational Range: 280 miles (road) / 186 miles (off-road)
▪︎Maximum Speed: 31mph (road) / 19mph (off-road).
Link to Part I :- flic.kr/p/2i33bjU
The Web Everywhere: Multi-Device Web Design
Luke Wroblewski, CEO & Co-Founder of Input Factory Inc.
The web no longer starts and ends on our desktop and laptop computers. Today, the tremendous growth of mobile devices is turning more and more people into multi-device and, as a result, cross-device users. Designing for this reality requires new ways of thinking and building for the web.
Join Luke Wroblewski, author of Mobile First (A Book Apart, 2012), for this in-depth look at today’s multi-device ecosystem. Learn how mobile provides a foundation for this new reality, how to build on this foundation to reach an ever-increasing set of devices, and where the web will take us next.
RBC Buidling. Donwtown Toronto
..............Framed, Canvas, Prints Available @ Imagekind..............
The Snail is a portable heating and cooking device based on magnetic
induction processes. Such is the size and versatility of the Snail, it can
be stuck directly on to a pot, a pan, a mug etc. to heat the contents.This
reduces the amount of space required for conventional cooking whilst adding
portability to the process. Powered by a high density sugar crystal
battery, the Snail converts the energy from the sugar, heating up a coil to
conduct the magnetic induction process to the utensil. Integrated sensors
detect the food type being heated; automatically adjusting the time and
temperature. A simple touch sensitive display with interface helps to
monitor the process.
Hallmark Store Credit Card Swipe Reader Machine Device Scanner, Verifone 1/2015 by Mike Mozart of TheToyChannel and JeepersMedia on YouTube
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-15-69
MOBILE DEVICE: Federal Agencies' Steps to Improve Mobile Access to Government Information and Services
Note: In its Cell Internet Use 2013 report, Pew uses the term "cell Internet users" to refer to individuals who use their cellphones to access the Internet. These cellphones could also include smartphones. The margin of error for results based on cellphone owners is plus or minus 2.4 percentage points.
Spc. Alberto Apolinario (center) with U.S. Army Europe's 541st Engineer Company, 54th Engineer Battalion, 18th Engineer Brigade, speaks with the commander of a Spanish engineer company in his native tongue during exercise Interdict 2012 in Spain, Oct. 27. The exercise hosted by the Spanish engineers was designed to foster and enhance interoperability and skills among engineer units practicing counter-improvised explosive device operations using a scenario that mirrored combat in Afghanistan. (Photo by Lt. Col. Wayne Marotto)
This Item Case is designed to protect your device from everyday bumps and scratches while keeping your device looking new. These cases have been manufactured specifically for your device allowing full access to all buttons, ports and functions without removing your device.
material：PU
Compatible:Apple iPad mini,
Easy to install and remove.
Protect your device against abrasion, scratch, dust, fingerprints and bump.
Unique design allows easy access to all controls and ports.
www.applehour.com/Fashion-Split-Bluetooth-Leather-Protect...
Under over - what a cool way to photograph.. Have to find better places to catch more fish and corals :)
The Speculum Series: Lotus Eater
Strobist info:
285HV through satin umbrella at 1/16, 2' subject left fore.
580EX II through satin umbrella at 1/16, 2' subject right fore.
Diagram showing how an organic device could store information.
Voltage applied at the gate (G) — for example, from a sensor — drives positive ions from one layer, called the electrolyte, into an adjacent layer, an organic polymer. This changes the polymer’s resistance to a current moving from the source (S) to the drain (D). The amount of resistance represents the value being stored.
===
This graphic is available for free for in-classroom use. You must contact us to request permission for any other uses.
===
Read more in Knowable Magazine
Making computer chips act more like brain cells
Flexible organic circuits that mimic biological neurons could increase processing speed and might someday hook right into your head
knowablemagazine.org/article/technology/2022/making-compu...
Lea en español
Cómo hacer que los chips de las computadoras actúen más como neuronas
Los circuitos orgánicos flexibles que imitan a las células cerebrales biológicas podrían aumentar la velocidad de procesamiento y, algún día, quizás engancharse directamente a su cabeza.
es.knowablemagazine.org/article/technology/2022/hacer-que...
Read more from Annual Reviews
Materials Strategies for Organic Neuromorphic Devices, Annual Review of Materials Research
Neuromorphic computing will use brainlike architectures and synaptic memories to create more efficient computers. This review lays out requirements for materials that would have the computing power and biocompatibility to allow integration with the body.
===
Knowable Magazine from Annual Reviews is a digital publication that seeks to make scientific knowledge accessible to all. Through compelling articles, beautiful graphics, engaging videos and more, Knowable Magazine explores the real-world impact of research through a journalistic lens. All content is rooted in deep reporting and undergoes a thorough fact-checking before publication.
The Knowable Magazine Science Graphics Library is an initiative to create freely available, accurate and engaging graphics for teachers and students. All graphics are curated from Knowable Magazine articles and are free for classroom use.
Knowable Magazine is an editorially independent initiative produced by Annual Reviews, a nonprofit publisher dedicated to synthesizing and integrating knowledge for the progress of science and the benefit of society.
===
We love to hear how teachers are using our graphics. Contact us: knowablemagazine.org/contact-us
Image Courtesy: Pete (www.flickr.com/photos/comedynose/5718956109), Licensed under the Creative Commons Attribution 2.0 Generic | Flickr