View allAll Photos Tagged Materials
National Underwear Day 2013
Times Square, NYC
August 5th, 2013
© 2013 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Nunca he visto estos aparatos, supongo que los forofos ferroviarios nos dirán de lo que se trata ;-)
Department of Materials Science & Metallurgy, University of Cambridge. Final in this black and white series on some University departments.
Nothing is entirely immune to the harsh environment of space. Out there, things and organisms degrade at a faster pace and in different ways. To understand how materials age beyond Earth’s atmosphere, up to 141 samples are spending a minimum of six months exposed to outer space for the Euro Material Ageing experiment.
Radiation, vacuum, temperature extremes and even space debris are hitting this selection of inorganic materials on Bartolomeo, Europe’s ‘front porch’ on the International Space Station.
No filters or protection allowed, each sample has a bare surface of 20 millimetres cramped between two aluminium plates. The diverse palette in this image shows metallic glass, ceramic composites, silicon, diamond-like carbon, carbon fibres and plastics, among others.
Europe has years of experience in sending biology samples to space, but this is the first time ESA and the French space agency CNES expose inorganic materials outside the Space Station.
NASA astronauts Sunita Williams and Nick Hague used the Station’s 17-metre-long robotic arm last December to place the Nanoracks airlock on Bartolomeo, where the experiment is facing the full spectrum of space environment hazards.
As Nick Hague said in a social media post, “Materials research is critical to our exploration of space. Vacuum, extreme hot and cold, radiation – these are the harsh realities of the space environment. The right materials can help us survive in space and dare to go further, and can also improve life on Earth!”
Euro Material Ageing is testing how exposure to space can be bad for the health of spacecraft components. Whether a mission is orbiting Earth or operates in deep space, unwanted effects include discoloration, embrittlement and buckling.
The Space Station experiences frequent changes from sunlight to darkness while circling our planet. Materials go through drastic temperature shifts from up to 150°C in sunlight down to –150°C in the shade. Such thermal stresses lead to accelerated ageing, potential cracking and misalignment.
Samples are exposed to highly reactive atomic oxygen formed at the topmost fringes of the atmosphere and known to eat away satellite surfaces. Materials in this experiment will also cope with ‘outgassing’ in vacuum – the gradual boiling away of chemicals and solvents – which could contaminate sensitive satellite surfaces such as lenses.
Results from the Euro Material Ageing experiment could inform the design of fire-retardant and rust-resistant materials, and better protection for satellites could in turn help improve plastic siding for your house.
The exposure time is planned between six and 18 months. After completion, the facility will be transferred back inside the International Space Station. A new set of samples will be waiting for a second immersion into the harshness of space.
Credits: ESA/NASA
La pianta del mais è originaria dell’America Latina ed era già conosciuta in Messico almeno 5500 o 6000 anni fa. Questo cereale è stato importato con il secondo viaggio di Colombo (1495), assieme alla patata e al tabacco, ma venne allevato solo a partire dal 1520. Oggi è diffusamente coltivato in tutte le regioni temperate.
Venne denominato "turco" (granoturco) perché dopo la scoperta dell’America rimase per molto tempo l’uso di chiamare "turco" ogni prodotto proveniente da oltremare. Fino ad allora i fiorenti commerci con l’Oriente passavano generalmente attraverso la Turchia.
Una leggenda spiega che..
il mais era velenoso e che sarebbe stato reso commestibile da San Carlo, impietosito dalla gente lombarda in un periodo di carestia. In realtà, però, è solo a partire dal '600 che questa coltura è stata introdotta in Lombardia e nel Sottoceneri, dove si coltivava anche panìco e miglio. Le valli, per ragioni climatiche, restarono ancora zone di coltura di segale, orzo e miglio fino agli inizi del secolo scorso. Solo all’inizio dell’800 il granoturco si sostituì completamente e definitivamente al miglio nella preparazione della polenta, per questo motivo possiamo affermare che la polenta di mais è una pietanza relativamente recente
FONTE: www.schub.ch/file/Z__Appendice_SF_8_polenta.pdf
(...) Per variare l'incredibile uniformità dell'alimentazione locale, venivano consumate (in Ticino ndr) grosse quantità di castagne e di fave che costituivano così l'integratore, se non addirittura il sostituto, alle granaglie nei mesi invernali o a scorte finite.
Altri elementi molto preziosi che facevano parte della nostra alimentazione, erano le olive e le noci, consumate con estrema parsimonia, poiché destinate quasi tutte alla estrazione di olio.
Sostanziali cambiamenti nella nostra alimentazione, si ottennero solo recentemente con l'avvento del turismo, attorno al 1930, che introdusse i primi concreti cambiamenti.
Pure la carne, anche e solo per i più benestanti, costituiva un raro alimento, solitamente consumato in grandi occasioni festive come il Natale o la Pasqua. Per lo più si trattava di carne suina e, qualche volta, di coniglio o gallina, sempre consumata con infinita parsimonia.
(...)
FONTE: www.bcavadini.ch/vescovadia/pgs/emigraz.html
Anche se la poverta' era generalizzata sulle Alpi, pare che in Ticino se la passassero gia' allora discretamente meglio che in altri posti meno fortunati climaticamente come leggiamo dal medesimo autore:
(...)
Nell'ultimo quinquennio sono emerse nuove teorie, secondo le quali la qualità di vita dell'epoca, almeno per ciò che concerne la nostra ed altre regioni di montagna, era molto meno difficile che altrove. Sul posto erano quasi sempre reperibili, più o meno da tutti, latte, prodotti caseari e (là dove esisteva il lago) pesce; tutti elementi che contribuirono non poco ad eliminare epidemie riscontrabili altrove, dove queste condizioni particolari non esistevano, come la pellagra, che decimava la popolazione (...)
Coche Camas Yft CIWL 4648 fotografiado en la localidad de Radona, línea Torralba-Soria. Coche construido en Zaragoza por Material Móvil y Construcciones entre 1963 y 1965. Consta de 11 departamentos comunicados dos a dos. Preservado por la AZAFT.
KW Patent Etui (BJ 1928) 9x12, Jos. Schneider &Co. Kreuznach Xenar 4.5/13,5cm in Compur, Fomapan 100, Rodinal 1+50, 12min
Nunca he visto estos aparatos, supongo que los forofos ferroviarios nos dirán de lo que se trata ;-)
To keep from going stale you must forget your professional outlook and rediscover the virginal eye of the amateur. Brassai
Mauritania
The Recipe
5 mins pre soak
8.30 mins Ilford ID11
Stop 2 mins
5 mins Ilford Fixer
10 mins wash
plus a bit of wash aid
Material Circulante: CP 4722 + 5 Sggmrss + 7 Sgnss + 4 Sgmms + 1 Lgnss
Hora: 12:48
Data: 12-09-2015
Local: Estação de Santarém (PK 74 - Linha do Norte)
Serviço: Comboio Especial n.º 95226 (Entroncamento --» Terminal de Mercadorias da Bobadela)
Realizing I'm over a year behind on posting pics, I'm going to try posting by month, and play a bit of catch up. Presenting Marchof '17 .
While Flickr will always have the most images of each outfit, follow me on Instagram (/secretjess42) to see the latest pics!
Un 599 regresa vacío a Cerro Negro después de prestar servicio en Soria y Madrid a su paso por el Campo de las Naciones.
Materials: woodblock print. Dimensions: 42.4 x 28 cm. Nr.: 52.44. Source: www.mfa.org/collections/object/kinry%C3%BBzan-temple-at-a.... I have changed the light and contrast of the original photo.
This piece by Nari Ward was photographed at the Massachusetts Museum of Contemporary Art. The following is quoted from written materials by the museum staff:
The form of Nu Colossus comes from a small conical woven fish trap, which lures fish only to ensnare them. Typically used to catch minnows, here Ward has reconceived the delicate, basket-sized trap at immense scale. This duality of deduction and entrapment is key to Ward's idea of mirage. Suspended inside the cone, broken bits of weathered furniture apppear to be stuck in the trap but at the same time become an inegral part of its structure. Vieweres cannot enter the structure but instead stand in front of it as it opens up before them, magnificent and revelatory.
My Palette, I bought this palette but have just swapped my paints to a different palette as I didn't like the dividers that hold the paints in place (they seem to hide too much of the pans).
Diamonds are a girl's best friend + 'Cause we are living in a material world, and I am a material girl... = essa mani HAHAH
Realmente, diamantes são os melhores amigos das mulheres e só me restam eles - ops, não tenho diamantes. É, só me restam as unhas mesmo...
Usei mils camadas de top coat pra tentar vitrificar esse glitter, nem deu. Quero um top coat bom pra glitter urgentemente ;/
E sobre a nail art, vi no Tumblr, mas não sei quem fez primeiro - alguém sabe? Mas adorei a ideia das linhas de glitter, tentarei pensar em outro desenho pra fazer o mesmo esquema mais pra frente...
E que porcariazinha esse lance novo do Flickr de esconder as imagens! Tá certo que é ótimo pra spam, mas nem anima de colocar mais de uma foto aqui ;/ Vou passar a usar só o Tumblr pras várias fotos... ;/
edit: Aqui a referência! E o mais legal de ter feito sem procurar direito onde tinha visto é que fiz diferente! Enquanto eu usei o glitter com linha, a referência usou o preto... E nossos desenhos de diamantes são diferentes - a vida inteira desenhei como na minha nail art hahaha...
1 x Fortificante Tea Tree, Vefic
2 x Material Girl, China Glaze
Nail art com esmalte para carimbo Preto, Blant Colors, e Rock, Colorama.
2 x Intensificador de Brilho Espelho D'Água, Vefic
1 x Extra Brilho, Ideal
1 x Extra Brilho, Jade
Materials: oil on canvas. Dimensions: 71 x 170 cm. Auctioned by Sotheby's in London, on December 9, 2015. Source: www.sothebys.com/content/dam/stb/lots/L15/L15036/4043M09_.... I have changed the contrast of the original photo.
took this nice snapshot of all these coils with all these threads. it looks really messy but i reckon it looks pretty cool.
Latest edition of my transparent materials.
Yellow brick is my reference to ensure lighting is the same as my real set up on my desk.
Materials: oil on canvas. Dimensions: 39.7 x 56.5 cm. Source: www.rct.uk/sites/default/files/collection-online/d/8/6848.... I have changed the light and contrast of the original photo
Henry Moore - Form and Material - Museum Beelden aan Zee - The Hague
In collaboration with the Henry Moore Foundation, Museum Beelden aan Zee has made a selection of works from the artist's substantial oeuvre. Around 70 objects and sculptures portray the artistic vision and creative process of one of the most important innovators of modern sculpture. The exhibition in Beelden aan Zee focuses on the influence of nature on his work and his growth and development as a sculptor. From promoting direct carving – carving without using preparatory sketches and studies – to experimenting with casting in lead and bronze. Henry Moore (1898-1986) is one of the most important British artists of the twentieth century. His sculptures balance on the boundary between figurative and abstract art and continue to be a source of inspiration to artists. His work has a recognisable and characteristic formal language. Important themes in his oeuvre are ‘mother and child’ and his reclining figures, which he explored extensively.
From the 1920s, Moore participated in countless British and international exhibitions, with solo as well as group exhibitions, he sold work on a regular basis, and so made a name for himself as an important modernist sculptor. However, the Second World War called a halt to these positive developments. Henry Moore left his teaching post and took up a commission as a war artist. It was in this capacity that he produced his deeply moving Shelter Drawings of Londoners crowding the city's underground stations sheltering from the Blitz. In the 1950s he created larger groups of figures. The prices for his works increased considerably and his fame as an international artist continued to grow. In later years he served as a trustee at both the Tate Gallery and the National Gallery and he was the recipient of a large number of prizes and honours.
Material Girl cover shoot - www.materialgirl-mag.com
♥ ♥ ♥ ♥ ♥ ♥ ♥
Photography - Lucia O'Connor-McCarthy
Styling - Coline Bach
Make-up - Elias Hove using Illamasqa cosmetics
Hair - Adlena Dignam using Kevin Murphy
Set - Stéphanie Kevers
Photo assistants - Chloe Taylor, Becca Sellers
Styling assistants - Esther MK, Kelsang Dorjee Dongsar
Models - Belle & Layla @ Select, Stacey @ Models1
SPECIAL THANKS to my lovely parents for be amazing on the day!
All images © Lucia O'Connor-McCarthy
Linen canvas, community sourced single use plastic caps, lurex thread, glass, silicone, wrapping, sewing, white wood floater frame, 13.5" x 13.5" x 2", 2021
see detail view: www.flickr.com/photos/dembicer/51563708852
purchase info: www.saatchiart.com/account/artworks/119928
Flow is, by definition, in one direction. This was a familiar problem on the buses. At evening rush hour vehicles groaned from the city with standees and all seats occupied, others passed in the opposite direction with three or four passengers and the conductor sitting on the back seat with his feet up, reading the Sun.
During the last year a rail traffic has developed between Wellingborough and Norwich. The Norwich end is Trowse (Redland Sidings), which also receives a trainload from Mountsorrel several times a week. This traffic is, I think, road aggregate. Evidently these are the empties, returning to Wellingborough. I'm sure the costs accruing to the Train Operating Company in operating this "dead" journey are reflected in the invoice it presents to the customer, but wouldn't it be nice if some sort of stone (if there is any in Norfolk, apart from flint and a bit of Carstone around Downham Market), needed carrying from Norwich to Wellingborough. Yeah ...like anything in life was ever perfect.
I took this back in the first half of June. The train is passing Brandon station and is, I think, still in Norfolk. The station has staggered platforms linked by the footbridge from which the photograph was taken and, as far as I can make out from the Ordnance Survey 1:25,000 sheet, the boundary between Norfolk and Suffolk runs along the station's up-side platform, off right and behind the camera. The establishment on the far side of the line belongs to Lignacite, which makes concrete blocks and is said to have done very nicely thank you from the Olympic Games held in London a few years ago. I confuse them with Lignacaine, a type of local anaesthetic. Visible in the left distance is the Brandon Down Goods Loop, which still sees occasional use. There was an up loop just behind the train, but this has been lifted in recent years.