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Alfonzo Hall, left, learns a functional strength training move from instructor Sean Kissell of Total Fitness on Nov. 18 at West Avenue Library.
Todd wearing his Personal Flotation Device.
Todd is a creature from Japanese lore/cryptozoology called a Kappa.
I made him as a gift for a friend into boating, who also is the center of a "kappa (greek letter k) phenomenon" sort of a Chaos field where perfectly functional machinery will get goofy around him.
Clojure eXchange 2016, Thursday, 1st - Friday, 2nd December at CodeNode, London. skillsmatter.com/conferences/7430-clojure-exchange-2016 Images copyright www.edtelling.com
An old propane tank repurposed into a hanging bbq for a balcony. Copper trim was brazed on to create a friction fit seal for cooking. As the bare steel of the body rusts the copper and brass will slowly go green.
Superlative contemporary and modern decorative arts, design and jewelry by internationally recognized museum class artists will be showcased by 55 international dealers from 12 countries at SOFA NEW YORK 2009.
Aquatic therapy is sometimes combined with CIMT to address strength building and improve upper extremity coordination.
"The Trip 35 is a 35mm compact camera, manufactured by Olympus. It was introduced in 1967 and discontinued, after a lengthy production run, in 1984. The Trip name was a reference to its intended market – people who wanted a compact, functional camera for holidays. During the 1970s it was the subject of an advertising campaign that featured popular British photographer David Bailey. Over ten million units were sold.
The Trip 35 was a point and shoot model with a 40mm f2.8 lens, solar-powered selenium light meter, and just two shutter speeds. In 'A' mode, the camera operated as a Program automatic, choosing either 1/40th sec or 1/200th sec. The camera could also sync with flash, and had a range of aperture settings, from f2.8 to f22. In flash sync mode the shutter was set at 1/40. Apart from a simple four-position zone focus system, and an ISO setting from 25–400, the camera had no other photographic controls. The camera had a Prontor-Compur sync connector and a hot shoe. Its lens was a coated Zuiko 40mm f/2.8, with four elements in three groups.
The camera had an ISO range of "only" 25–400, but this was acceptable, as films faster than 400 were uncommon and not of high image quality. 25 speed allowed the use of Kodachrome, while 400 speed allowed use of Tri-X and similar fast materials under low light.
Earlier models, from the first few years of production, had a maximum ISO speed of 200.
The four-element Tessar lens, still impressive today, gave high-quality images. If used with modern film emulsions, the results can be very good.
The use of a selenium photocell to select the shutter speeds and aperture let novices use the camera as a "point & shoot", with good results obtained most of the time. And no battery was needed to power the camera, an important consideration when travelling where batteries might not be available.
The lack of more than two shutter speeds was not a problem. At 1/200 and f:22 with 400-speed film, the camera could deliver correct exposure in full sunlight, while at 1/40 and f:2.8, correct exposure could be obtained under bright fluorescent light, without a flash.
The aperture could also be adjusted to cope with sunny/dull conditions etc., so again this allowed for better results, but in low light conditions, with perhaps a smallish aperture (for long depth of field), the camera would probably set itself to the lower speed of 1/40th, so camera shake was a possibility if higher-speed film was not used." en.wikipedia.org/wiki/Olympus_Trip_35
Superlative contemporary and modern decorative arts, design and jewelry by internationally recognized museum class artists will be showcased by 55 international dealers from 12 countries at SOFA NEW YORK 2009.
I had the pleasure of exploring a slice of the wild world of mushrooms - functional mushrooms that is in the latest issue of Chatelaine. Or rather three notable fungi that have popped up all over the place in the past while despite having a deep history of traditional use.
What are they? Is it legit? Does drinking it in a hot chocolate do the same thing compared to wild foraged varieties? And what about sustainability? I look at all that and a touch more - along with some clinical research (back to the days where PubMed was a search buddy and falling down the rabbit hole of research, and putting things through that critical scientific lens), plus consulting a registered dietitian and a doctor of traditional Chinese medicine for this piece in the May/June 2021 issue of Chatelaine.
Find it on newsstands or zoom in to read here.
Scala eXchange 2016, Thursday, 8th - Friday, 9th December at Business Design Centre, London. skillsmatter.com/conferences/7432-scala-exchange-2016#pro.... Images copyright www.edtelling.com
So it's technically not yard art but it gets honorable mention since i'm sure it sits in the yard more than it's on the road
This is still a functional lighthouse, but it is automated and all electric. This lighthous marks the North Cape, and if the wind is blowing right, you can hear a whistling bouy that marks the end of the reef where the Northumberland and Atlantic meet.
MAY 23rd, LONDON - This month the F#unctional Londonders go hands on with Type Providers with Tomas Petricek. More meetup dates at: skillsmatter.com/user-group/scala/london-f-sharp-user-gro...
Tejo Remus
Dutch, born 1960
You Can't Lay Down Your Memory Chest of Drawers, 1991, fabricated 2008
Maple, various preexisting drawers, jute furniture mover's strap, and metal
Purchase with funds from the Friends of the Deco
In 2008, the High sent out a statewide call for submissions of drawers from any type of furniture to be included in a commissioned artwork. Tejo Remy assembled the chosen entries on-site at the Museum based on his original design for Droog in 1991.
Remy's concept for this chest was a functional and visual marker of spaces to hold and retain memories. By creating a new context, he recycled a collection of drawers and their meanings.
His design philosophy champions a more responsible, moral, and simplistic approach, as demonstrated with these repurposed drawers.
St-Sauveur et Notre-Dame-de-Pitié, Lieffenan, département du Jura
A big dedication for such a tiny chapel. Standing in the village square at Charézier, looking at its functional little church, you might be forgiven for thinking that there are no church buildings of any significance in this parish. However, you would be wrong; there are two, and the chapel of the Holy Redeemer and Our Lady of Mercy in the hamlet of Lieffenan, a mile or so from Charezier village, is one of them.
I freewheeled down into the valley of the Ain, Mount Saint-Sorlin towering above me. Lieffenan is a small collection of farm cottages facing across to Blye on the opposite bank. Hidden from view, but signposted from the narrow lane, is the hydro-electric dam I had been dismayed by the previous year; I had thought it was a bridge, but ended up having to make a 20 km detour because it wasn't.
A yellow postvan overtook me, bibbing its horn merrily. It was the postgirl I had asked for directions an hour or so before at Vertamboz. French students staff the postal service in Summer, but only the prettiest ones get to work in the Jura.
She pulled into the farmyard across the village street, and opposite was the smallest church I had ever seen. It measures just 400cm wide by just 250cm deep. There was a tiny window in the eastern wall, and above the main door two corbels that suggested there might have been a porch once. Beneath them, the date said 1572.
Flowerbeds flanked the steps, and an old dog wandered out of a nearby yard to watch as I opened the door. Inside, there was no space for pews or even a proper altar; instead, a narrow bench sat before a little shelf jutting out of the east wall.
Briefly, I stepped out of the 35 degree heat of a Jura summer into the cool stillness of the eternal moment.