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Sequentially numbered 43187 and 43186 rumble over the infamous 'Iron Bridge' with 2C09, the 09:15 Newquay - Par, vice-Cl.150.
The Postcard
A postally unused carte postale that was published by Nouvelles Galeries of Rouen.
Although the card was not posted, a man named Sam has written a recipient's name on the right of the divided back of the card:
Miss D. Peachey.
On the left, they wrote:
"12 - 11 - 1917.
Best wishes.
Yours ever,
Sam".
It is highly likely that Sam was serving on the Western Front during the Great War, and that the card was sent in an addressed envelope via the British Army Post Office.
The British Army Postal Service
During the Great War, the British Army Postal Service despatched over two billion letters and cards. Assuming an average length of 6 inches, if they were laid end to end they would stretch for 189,394 miles (304,800km) - that's over seven and a half times round the Earth's equator.
The Great War lasted for 1,567 days, therefore the Postal Service were kept busy handling an average of over 1¼ million pieces of mail every day of the war's duration.
Jeanne d'Arc
Jeanne d'Arc, or Joan of Arc (c. 1412 – 30th. May 1431) was nicknamed 'The Maid of Orléans' (French: 'La Pucelle d'Orléans'). She is a heroine of France for her role during the Lancastrian phase of the Hundred Years' War, and was canonized as a Catholic saint.
She was born to Jacques d'Arc and Isabelle Romée, a peasant family, at Domrémy in the Vosges of northeast France.
Late in the Hundred Years' War, Joan claimed to have received visions of the Archangel Michael, Saint Margaret, and Saint Catherine of Alexandria instructing her to support Charles VII and recover France from English domination.
The as-yet-unanointed King Charles VII sent Joan to the Siege of Orléans as part of a relief army. She gained prominence after the siege was lifted only nine days later. Several additional swift victories led to Charles VII's consecration at Reims. This long-awaited event boosted French morale and paved the way for the final French victory at Castillon in 1453.
On the 23rd. May 1430, she was captured at Compiègne by the Burgundian faction, a group of French nobles allied with the English. She was later handed over to the English and put on trial by the pro-English bishop Pierre Cauchon on a variety of charges. After Cauchon declared her guilty, she was burned at the stake in May 1431, dying at about nineteen years of age.
In 1456, an inquisitorial court authorized by Pope Callixtus III examined the trial, debunked the charges against her, pronounced her innocent, and declared her a martyr. In the 16th. century she became a symbol of the Catholic League, and in 1803 she was declared a national symbol of France by Napoleon Bonaparte.
She was beatified in 1909 and canonized in 1920. Joan of Arc is one of the nine secondary patron saints of France, along with Saint Denis, Saint Martin of Tours, Saint Louis, Saint Michael, Saint Rémi, Saint Petronilla, Saint Radegund and Saint Thérèse of Lisieux.
Joan of Arc has remained a popular figure in literature, painting, sculpture, and other cultural works since the time of her death, and many famous writers, playwrights, filmmakers, artists, and composers have created, and continue to create, cultural depictions of her.
Rouen
Rouen is a city on the River Seine in northern France, and is relatively close to the English Channel. Formerly one of the largest and most prosperous cities of medieval Europe, the population of the metropolitan area is 702,945 (2018). People from Rouen are known as Rouennais.
“Upon approaching Rouen one is sure to be struck
by the insolent daring of its situation. Lying on a
sloping plain beside the river, it seems to disdain the
well-nigh impregnable site afforded by the steep cliffs
which rise just to the northeast.
The history of the city bears out the audacity of its
location. Through all the centuries, its inhabitants
concerned themselves so continuously in conquering
other peoples that little time was left in which to
consider the security of their own homes.”
-- Charles Hitchcock Sherrill, Stained Glass Tours in France (1908).
Rouen was the seat of the Exchequer of Normandy during the Middle Ages. It was one of the capitals of the Anglo-Norman dynasties, which ruled both England and large parts of modern France from the 11th. to the 15th. centuries.
From the 13th. century onwards, the city experienced a remarkable economic boom, thanks in particular to the development of textile factories and river trade. Claimed by both the French and the English during the Hundred Years' War, it was in Rouen that Joan of Arc was tried and burned alive.
Severely damaged by a wave of bombing in 1944, Rouen nevertheless regained its economic dynamism in the post-war period thanks to its industrial sites and busy seaport, which is the fifth largest in France.
Endowed with a prestige established during the medieval era, and with a long architectural heritage in its historical monuments, Rouen is an important cultural capital. Several renowned establishments are located here, such as the Museum of Fine Arts, the Secq des Tournelles Museum, and Rouen Cathedral.
“Perhaps the most characteristic feature of Rouen
when viewed from a distance is the great number
of its spires that shoot up above the housetops,
earning for it the sobriquet of the City of Churches.”
-- Charles Hitchcock Sherrill, Stained Glass Tours in France (1908).
Sadly not all of those churches are still there because of the ravages of war.
Seat of an archdiocese, Rouen also hosts a court of appeal and a university. Every four to six years, Rouen becomes the showcase for a large gathering of sailing ships called "L'Armada"; this event makes the city an occasional capital of the maritime world.
Rouen Cathedral
Rouen Cathedral was commenced in the 12th. Century on the site of an earlier structure. It has a Roman crypt.
The Butter Tower dates from the 16th. century. The name of the Tour de Beurre comes from the fact that butter was banned during Lent, and those who wished to carry on eating it had to donate 6 Deniers Tournois towards the building of the tower. Practically everyone in Rouen must have carried on eating butter in order to fund a tower like that!
The Victorian cast-iron Lantern Tower in the centre of the building made the cathedral the tallest building in the world from 1876 until 1880, when it was overtaken by Cologne Cathedral.
The Lantern Tower was designed by the architect Jean-Antoine Alavoine who proposed the use of cast iron, a modern material for the time, because it was less combustible than wood, and lighter than stone. The Lantern Tower took 50 years to construct. The 151 metre height of the spire still makes Rouen Cathedral the tallest cathedral in France.
The presence of a lantern tower at the crossing of the transept is a frequent feature in churches in Normandy (St. Ouen in Rouen, and Bayeux) and in England (Gloucester, Salisbury, and Winchester).
The lantern is in a bulge in the ironwork near the top of the spire, which is surmounted by a weathercock.
The Cathedral holds the heart of Richard the Lionheart. His bowels were buried within the church of the Château de Châlus-Chabrol in the Limousin. The cathedral seems to have got the better end of that particular deal!
Claude Monet painted a series of studies of the cathedral's façade 1894. Roy Lichtenstein also made a series of pictures of the front of the building.
The Cathedral has had to put up with a lot of wilful destruction during its lifetime:
- The Calvinists damaged much of what they could easily reach during the religious wars of the 16th. Century - the furniture, tombs, stained glass and statuary.
- The French State nationalised the building in the 18th. Century, and sold some of its furniture and statues to make money. The chapel fences were melted down to make guns.
- In WW2 the Cathedral was first bombed in 1944, taking 7 bombs. The bombs narrowly missed destroying a key pillar of the Lantern Tower, but damaged most of the south aisle, and destroyed two medieval rose windows. One of the bombs was fortunately a dud and failed to explode.
- As a consequence of a subsequent WW II bombing, the north tower, on the left of the façade, was entirely burned. During the fire the stonework calcified and the bells melted, leaving molten metal on the floor. The cathedral is still being restored after the extensive damage incurred during World War II.
Also, during the violent storm of December 1999, a copper-clad wooden turret weighing 26 tons fell into the Cathedral and damaged the choir and the stalls. The three other turrets were removed for maintenance and safety purposes before being replaced in 2012.
The Execution of Jeanne d'Arc
Jeanne d'Arc was executed not far from the Cathedral in the Vieux-Marché on Wednesday the 30th. May 1431.
The famous depiction of 19 year old Joan of Arc's execution showing her on top of a pile of wood and straw is wrong.
The site for her execution comprised a stake at the centre of a large ring of wood, with a gap left for Joan to be led to the stake. Once she was tied to the stake and the gap closed, she was hidden from sight.
One authority has suggested that her body would have burnt in the following sequence: calves, thighs and hands, torso and forearms, breasts, upper chest and face.
However in all likelihood she would have died from heatstroke, loss of blood plasma and carbon dioxide poisoning before the fire attacked the upper parts of her body.
After Jeanne had expired, the English exposed her charred body so that no-one could claim that she had escaped alive, then burned her body twice more to reduce it to ashes in order to prevent the collection of relics.
They then cast her remains into the Seine.
A modern church now stands on the site of her execution.
Walter Yeo
So what else happened on the day that Sam wrote the card?
Well, Monday the 12th. November 1917 was the date of a pioneering cosmetic surgery operation on Walter Yeo.
Walter Ernest O'Neil Yeo, who was born on the 20th. October 1890, was an English sailor in the Great War, who is thought to have been one of the first people to benefit from advanced cosmetic surgery, namely a skin flap.
Walter Yeo - The Early Years
Yeo was born in Plymouth, Devon, to Petty Officer Francis Yeo and his wife Rhoda Sarah Yeo (née Jarman). He had two elder sisters, Adelaide and Elsie.
Three weeks after his birth, his father was killed aboard HMS Serpent while en route to Sierra Leone, after hitting rocks off Cape Vilan, Spain. Only three of the 150 people on board survived the shipwreck.
Walter's mother was later an ale-maker at the Royal William Victualling Yard.
Yeo's Service in the Royal Navy
Yeo enlisted into the navy aged 12, serving as a bugler until 1911. He was promoted to leading seaman in 1912, becoming a petty officer in 1915 and a warrant officer in June 1917.
Yeo's Injuries
Yeo was wounded on the 31st. May 1916, during the Battle of Jutland, while manning the guns aboard the battleship HMS Warspite.
Walter sustained terrible facial injuries, including the loss of upper and lower eyelids. There is some uncertainty as to where he was first admitted to hospital, due to poor documentation. However, he is known to have been initially admitted to Plymouth Hospital while waiting for a place at Queen Mary's Hospital in Sidcup, Kent, which was granted on the 8th. August 1917.
Walter was treated at Queen Mary's by Sir Harold Gillies, the first man to transfer skin from undamaged areas on the body. Gillies' notes on this case indicate that the main disfigurement was severe ectropion as well as waxy scar tissue of the forehead and nose.
Gillies opened a specialist ward at Queen Mary's Hospital for the treatment of the facially-wounded. Yeo is thought to have been one of the first patients to be treated with this newly developed technique; a form of skin transplantation called a 'tubed pedicle' flap.
Aftermath of the Surgery
During the long process of sequential operations, a 'mask' of skin was transplanted across Yeo's face and eyes, including new eyelids.
The operation to replace the skin of the midface and forehead took place in multiple stages. The first stage was the outlining of the graft as well as placement of a stent to contour for the nasal dorsum on the 12th. November 1917.
On post-operative day five, a serious infection was noted as well as complications with the stent requiring surgical intervention. On the 30th. November, the second stage of the surgery was performed; this consisted of excision of the scar tissue of the face and transfer of the graft.
Again, post-operative infection was a major complication. Gillies described the flap as "floating in pus at one point". This required extensive care to salvage most of the tissue.
In January 1918, the pedicles were returned to the chest with the surgery deemed a success. Minor revisions were performed in the following months to improve the aesthetics of the graft.
By July 1919, Walter was found to be fit for active service again, and was recorded as having completed courses in September 1919.
He underwent a further operation in August 1921, after which his disfigurement was recorded as "improved, but still severe", and he was recommended for medical discharge, which took place on the 15th. December 1921.
Yeo later received further treatment for a corneal ulcer at the Royal Naval Hospital in Plymouth in 1938.
Personal Life and Death of Walter Yeo
Yeo married Ada Edwards in 1914, and had two daughters with her: Lilian Evelyn Yeo, born on the 21st. October 1914, and Doreen Y. Yeo, born in 1919.
Walter died at the age of 70 in his hometown, Plymouth, where he had spent the majority of his life, in 1960.
'Disabled' by Wilfred Owen
'Disabled' is a Great War poem written by Wilfred Owen in 1917. It expresses the tormented thoughts and recollections of a teenage soldier who has lost his limbs in battle, and is now confined to a wheelchair. Here it is:
'He sat in a wheeled chair, waiting for dark,
And shivered in his ghastly suit of grey,
Legless, sewn short at elbow. Through the park
Voices of boys rang saddening like a hymn,
Voices of play and pleasure after day,
Till gathering sleep had mothered them from him.
About this time Town used to swing so gay
When glow-lamps budded in the light-blue trees,
And girls glanced lovelier as the air grew dim,—
In the old times, before he threw away his knees.
Now he will never feel again how slim
Girls' waists are, or how warm their subtle hands,
All of them touch him like some queer disease.
There was an artist silly for his face,
For it was younger than his youth, last year.
Now, he is old; his back will never brace;
He's lost his colour very far from here,
Poured it down shell-holes till the veins ran dry,
And half his lifetime lapsed in the hot race
And leap of purple spurted from his thigh.
One time he liked a blood-smear down his leg,
After the matches carried shoulder-high.
It was after football, when he'd drunk a peg,
He thought he'd better join. He wonders why.
Someone had said he'd look a god in kilts.
That's why; and maybe, too, to please his Meg,
Aye, that was it, to please the giddy jilts,
He asked to join. He didn't have to beg;
Smiling they wrote his lie: aged nineteen years.
Germans he scarcely thought of, all their guilt,
And Austria's, did not move him. And no fears
Of Fear came yet. He thought of jewelled hilts
For daggers in plaid socks; of smart salutes;
And care of arms; and leave; and pay arrears;
Esprit de corps; and hints for young recruits.
And soon, he was drafted out with drums and cheers.
Some cheered him home, but not as crowds cheer Goal.
Only a solemn man who brought him fruits
Thanked him; and then inquired about his soul.
Now, he will spend a few sick years in institutes,
And do what things the rules consider wise,
And take whatever pity they may dole.
Tonight he noticed how the women's eyes
Passed from him to the strong men that were whole.
How cold and late it is! Why don't they come
And put him into bed? Why don't they come?'
Ginetta G40 Cup (2010-on) Engine 1800cc S4 Ford Zetec
Race Series Ginetta G40 Cup (Oulton Park, Easter 2019)
Team SF Racing
Race Number 37 Gary Wager (Hertfordshire)
GINETTA SET
www.flickr.com/photos/45676495@N05/sets/72157623665201189...
The Ginetta G40 is a sports racing car introduced in 2010 replacing the G20, and initially available in two versions, the G40R, and the race version, the G40, which is available in two specifications; one of which is the G40 Challenge, the other is the G40 Junior, At launch, the car used a 1.8-litre Ford Zetec-based inline-four engine, generating a power output of 140 hp and driving through a 5-speed gearbox, with the car weighing 850 kg, the engine in the most recent version generate 165 hp, weighs 800kg and drives through 6-speed Quaife sequential gearboxes
In 2010, Ginetta decided to cancel plans to produce a road-going version of the bigger Ginetta G50, and instead built a road-going variant of the G40, named G40R The race car's 1.8-litre Zetec engine was replaced with a modified 2.0-litre Mazda MZR engine, generating a power output of 175 hp and shares the 6-speed manual gearbox of the Mazda MX5
In addition the Ginetta Junior Championship of the G40 named G40 Junior utilizes a restricted 100 hp of the Ford Zetec engine, to comply with MSA
The Ginetta G40 Cup Series is a natural progression for slightly more experienced drivers, and the next step on the ladder for last years G40 Junior competitors.
This version of the G40 races on slick tyres, and has uprated suspension.
Diolch yn fawr am 72,094,415 o olygfeydd anhygoel, mwynhewch ac arhoswch yn ddiogel
Thank you 72,094,415 amazing views, enjoy and stay safe
Shot 22.04.2019 at the British GT, Oulton Park round Ref 139-141
The tomb has an amazing minimalist design for the first few layers, with that low band of tiles, and then soft yellow plaster straight up to the open sky 20 feet overhead. With the perfectly contrasting blue expanse above you, the effect is stunning.
Canon 5DM2 is used as a single camera. Sequential frames are used to get the spacing differential that can be substituted with a 30th of a second time difference, displayed as a space differential. Doesn't always work, but if you know how to move the camera smoothly, you get it 2 out of 3 times, at least as a usable 3D still! Granted, like this image, it might have to be a bit shallow!
Tintypes by Libby Bulloff and Stephen Robinson at the Sequential Art Gallery in Portland, OR.
We made 24 wetplate photographs with our 1908 Seneca Black Beauty 4x5, organized into short narrative sequences on the subject of nightmares. Some teasers are located here: www.flickr.com/photos/henriettaseye/
Also on display are a handful of 16x20 and 24x30 inch museum-quality giclee prints made from high-resolution digital scans of our original tintype photographs, and a handmade, one of a kind rosary constructed from fish vertebrae, chicken bones, and human teeth by Ondine Vivian Eleven.
Through July 27, 2013.
JURY DISTINCTION FOR CATEGORY 3. LOCATIONS AND INSTRUMENTS
© CC-BY-NC-ND: Reto Togni
Description by the author:
142 years after Eadweard Muybridge’s invention, the principle of chronophotography remains essential in understanding human movement. The image not only builds on a rich cultural heritage of sequence photographs, nowadays best known in extreme sports, but also illustrates cutting-edge scientific processes that reveal internal working principles of the human body. Shown is a gait trial using a unique moving fluoroscope that tracks and follows the movements of a study participant while taking a series of x-ray images to analyse bone kinematics. By merging a series of six photographs taken during the trial, the image not only shows but also follows the maxim of novelty through continuous reinterpretation and repurposing of methods that are more than a century old.
Comment of the Jury:
A playful mise en abyme of chronophotography, depicting by means of a digital collage the motion of an apparatus that is itself taking sequential X-ray images of the legs of a person walking. It brings into view the actual processes involved in a scientific experiment, rather than solely its results.
Beschreibung:
142 Jahre nach Eadweard Muybridges Erfindung bleibt das Prinzip der Chronofotografie ein wichtiges Mittel, um menschliche Bewegung zu verstehen. Das Bild steht in der langen Tradition von Sequenzfotografien und illustriert gleichzeitig modernste wissenschaftliche Prozesse, die die inneren Abläufe im menschlichen Körper aufzeigen, in diesem Fall die Gangart. Mithilfe eines einzigartigen Fluoroskopie-Geräts werden die Bewegungen der Teilnehmenden aufgezeichnet und verfolgt, während das Gerät gleichzeitig Röntgenbilder macht, um die Knochen kinematisch zu analysieren. Indem das Bild eine Serie von sechs Fotos übereinanderlegt zeigt und versinnbildlicht es, wie durch die alte und neu interpretierte Methoden neues Wissen entsteht.
Kommentar der Jury:
Ein spielerisches Bild im Bild der Chronofotografie: es zeigt eine digitale Bewegungs-Collage eines Geräts, das selber Serien von Röntgenbilder macht, um die Beinbewegungen einer Person aufzuzeichnen. Es gibt uns einen Einblick in den Versuchsprozess anstatt ein Bild des fertigen Resultats darzustellen.
Description:
142 ans après l’invention d’Eadweard Muybridge, le principe de la chronophotographie demeure essentiel pour comprendre le mouvement humain. Cette image s’appuie sur le vaste héritage culturel des photographies séquentielles, aujourd’hui surtout connues dans les sports extrêmes, mais elle illustre des processus scientifiques de pointe qui dévoilent les principes du fonctionnement interne du corps humain. Elle montre un test de marche, produit par un unique fluoroscope mobile qui enregistre et suit le mouvement d’une participante, tout en prenant des images radiographiques pour analyser la cinématique des os. En fusionnant une série de 6 photographies prises pendant le test, l’image suit les principes d’une innovation qui jaillit d’une réinterprétation et d’une réaffectation permanentes de méthodes vieilles d’un siècle, et ne se contente pas de les montrer !
Commentaire du jury:
Mise en abyme ludique de la chronophotographie, décrivant par un collage numérique le mouvement d’un appareil prenant lui-même des images radiographiques des jambes d’une personne en train de marcher. Cette image offre un aperçu éclairé des processus même d’expérimentation, plutôt que de montrer l’image en tant que résultat de cette expérimentation.
Peugeot Onyx Hybrid Concept - winner of Autoweek's Best Concept award.
Its doors and wings are all made of polished copper, and Peugeot left the copper pieces unprotected to allow the natural patina (tarnishing) effect to occur over time.
The remainder of the body panels are developed using a slightly less rare, but not too common, carbon fiber. Peugeot then draped the carbon pieces in a matte black to give the Onyx a sinister look rarely replicated in the automotive world.
Under the carbon-fiber hood on the Onyx lays a beast, in the form of a 3.7-liter FAP HDi V8 engine with hybrid technology. The V8 engine itself is a monster, pumping out an insane 600 brake-horsepower and transferring the power to the rear wheels via a 6-speed sequential gearbox. On the roof is a set of aluminum switches and the “Start/Stop” switch for ignition of this beast.
The Hybrid4 system in the Peugeot Onyx Hybrid uses regenerative braking to keep its batteries all charged up and tosses into the ring an extra 80 brake-horsepower when it is charged and ready to go. This brings the Onyx’s peak ponies to 680 brake-horsepower, bringing it dangerously close to the 2012 Aventador’s peak power.
The Onyx’s diesel engine puts out 1160 Nm (855 pound-feet) of torque and the electric motor puts out 280 Nm (206 pound feet) of torque for a combined 1,061 pound feet of peak torque. This would likely propel the Onyx to 60 mph in a TopSpeed-estimated 2.2 seconds – well faster than the Mighty Aventador.
(Complete TopSpeed article: here)
Southbound train 590 (running late) with AMTK 458 and northbound train 589 with AMTK 459 meet up at Fullerton. September 26, 2008
©2006, Ken Szok All rights reserved.
The MU5 and MU6 computers
The MUS was the Victoria University of Manchester's fifth computer (following the Mark I, Mercury, Metrovick 950 and Atlas projects). Development of the computer began in 1966.
The machine utilised innovations in hardware and architecture that made it 20 times as fast as its predecessor the Atlas. Many of the design features of MUS were used by ICL in its successful 2900-series computers. The project was led by Tom Kilburn, with Derrick Morris leading the software team and Dai Edwards leading the hardware team.
The SRC funded the project with a £630,000 grant over five years and ICL agreed to manufacture the hardware for the machine at cost price.
The MUS was built by ICL using Motorola's MECL 2.5 small-scale Emitter Coupled Logic (ECL) integrated circuits, which were mounted on small integrated circuit
The MUS console foreground) with the machine in the background. Left to right-Pat McKissack Simon Lavington, Gordon Frank, Roland bett. Peter Whitehead. Tony Whitehouse, Lynne Plant (seated at the System Performance Monitor boards known as modules. These modules were plugged into 13-inch by 16-inch platters', each with a capacity of 200 modules.
The instruction buffer unit prefetched instructions from the local store but, because jump instructions could disrupt the flow of sequential instructions, it included a jump history table. Known as the jump trace', it attempted to predict the result of ant impending jump instruction and prefetch the instructions required for a loop. These architectural innovations meant that the MUS only required about
As with Atlas, MUS was an asynchronous processor, partly because the physical size of the machine would have limited the clock frequency, but also because the time required for floating point operations was data dependent. The use of ECL enabled MUS to perform a floating point addition in an average of 250 ns compared to the 1.6 us of Atlas.
half the number of instructions for a typical Algol program. With its ten-fold improvement in hardware speed, MUS achieved a 20-fold improvement in Achieving greater power power for users, compared to Atlas. To achieve greater power for users, MUS was designed for the efficient processing of Once it was commissioned in October 1974, MU5 ran a valuable computing high-level language programs in an interactive environment. This required an instruction set that would allow the generation of efficient, compact code by compilers, primarily at the Department of Computer Science, until it was dismantled in 1982. Fortran and Algol. Information on the nature of operands was made available to the hardware to allow optimal operand buffering.
Scan the QR code rup to 25 active online users (out of a user community of about 100)nd out more
service for up
MU6
The MUS had no addressable fast registers to eliminate the need for compilers to
optimise their use and to avoid the need to dump and restore their values during routine.
Following MU5's commission. the team started work on the next machine. Several MU6 architectures were proposed:
entry and exit. Frequently-used named quantities were held in a small high-speed
associatively-addressed name store of 32 64-bit words that formed a part of the one
level store of the machine.
MU6P was a microprocessor architecture for personal computers.
Data Path Address Path
Arithmetic Unit
Accumulator
• MUGG was a high
performance machine
funded by a grant from SRC.
Unit
Secondary Operand Unit
• A prototype MU6V parallel vector processing system based on Motorola 68000 microprocessors was constructed but never entered service.
Instruction
Primary Operand Unit
Descriptor
Operand
Descriptor
Operand
Buffer
Buffer System
Name Store
Addressing Unit
Processing
Unit
Unit
Store Access Control Unit Current Page Registers
By 1987, the University had purchased high-performance computers that were available to users across the institution. Among them was an Amdahl VP1100, which in 1998 sat alongside the national service Amdahl VP1200. The availability of University high performance computing meant that the costs of the Department developing custom high-performance computers for its own use could no longer be supported.
Store
To/From Exchange
The MUS processor architecture, courtesy of Roland ibbett
The MUGG computer during construction
The name store was part of the primary operand unit that decoded each instruction and fetched its primary operand, If the operand was a descriptor, the instruction was sent to the secondary operand unit where the descriptor was interpreted, and the secondary operand accessed.
When MU6G ended service in 1987 it was the last large-scale computer system to be designed and built in the Department until Steve Furber's SpiNNaker-based BrainScaleS-1-a 1,036,800-core machine that successfully ran using over 1,000,000 cores in October 2018. BrainScaleS-1 had around 10 times the power of the Mark 70.
This is 3D that anybody can shoot with a single HDSLR in the video mode. I prefer to turn the camera sideways to get more coverage out of the spherical lens. 1920P on a 5DM2 or M3 trumps the horizontal 1080P resolution and vertical coverage on the sensor. Just take any two video frames that follow eachother. Make one the left & the other the right eye view. Level and paste them side by side in Photoshop. I inhance my images by shooting the video at 320th of a second, which freezes the detail MUCH better. I also use rare 33% anamorphic lenses to get a wider rotated frame, so that each tall video is 1400 pixels wide. This is SO
easy to do, I've decided to open a new GROUP, it will be called "GLASSLESS SEQUENTIAL FRAME 3D" and it will be posted today...Look for it, and if you like the effect, spread the word! In case you are unfamiliar with cross viewing, LEFT EYE LOOKS AT RIGHT IMAGE, and visa versa. You'll see 3 Images, the CENTERED ONE IS IN 3D.
You can block the other two with your hands, or use glasses with little blinders that I make for fans of the technique.
Details
This modified Harris Shutter Effect image of a people on the stairs emphasizes things that move and other differences between three sequential photos while turning the background black.
Quick links to related images
View the traditional Harris shutter effect version.
Read how to construct this type of image from three sequential photos.
Other subtractive filter Harris shutter effect images
View all subtractive filter images.
These sequential doorways are on the roof of the Duomo in central Milan, Italy. This is a stunning cathedral in that you can actually access the roof, nearly all of it, on foot. The duomo is spectacular for many reasons, including the 2245 statues it contains, many on the roof.
These doorways, what I call in 3D the "portal effect", are allow passage through the supports buttressing the roof.
Two people converse as traffic passes.
A static bus version was previously prepared.
Details
This modified Harris Shutter Effect image generates colored "ghosts" on a black background. Things that move and other differences between three more-or-less sequential photos are emphasized while static features turn black.
Quick links to related images
Read how to construct this type of image from three sequential photos.
Other subtractive filter Harris shutter effect images
View all subtractive filter images.
Sequential shifter outlet. This connects to sequential shifters like Frex Shift+, EC Sim Pro Shift etc.
www.messersmith.name/wordpress/2010/05/12/the-quintessent...
In the realm of Geekdom, I believe that I have one of the more peculiar obsessions. I enjoy getting up early in the morning, say 05:00, and looking out at the sky. If it looks very black over town, that is a promising portent. If it looks orangish, that means that there are low clouds over the peninsula and the sunrise will probably be a flop.. I go and fire up the computer and start the day's work. At 05:30, I have another look. If I can see any colour, I make my preparations for the morning's quest for The Quintessential Sequential Sunrise.
The preparations consist of the following, which must be performed in less than ten minutes: (1) get Canon G-11 and attach to cheap tripod, (2) pick the appropriate selection of neutral density and polarising filters from the filter box (3) retrieve a Fanta Orange soda from the bar fridge and slip it into a cozy, (4) grab a folding chair from the overflowing junk room, (5) check to make sure that I have my pants on, (6) stumble outside in the dark with no light (don't want to ruin my night vision), (7) sit down and wait for the action to begin. It's not that much different from going to a footie game, except for the part about pants. I'm sure that it's quite acceptable to show up at a footie game sans pants.
And, this why all the fuss. Yeah, baby, this is what I'm talkin' about: That's the moon up there in the corner. It was so dark at 05:41 that I couldn't see the controls on the camera; I had to work by feel. Fortunately, I have great hands. The shot above was a fifteen second exposure. This long exposure time has the effect of turning the water into a mirror. The town lights are very bright in comparison to the sky.
Four minutes later and I have moved to what it becoming my favourite spot. I like the way the trees frame the sky. This is still at fifteen seconds, so the water of the harbour is as shiny as mercury.
At -6:02 the sky is getting much brighter. This is when it gets fast and furious. I now have less than a ten minute window to catch the best of the sunrise: The sun is still well below the horizon, but it is beginning to light up the clouds much brighter. Note that you can barely see the lights of town. The sky is probably several hundred times brighter than it was a few minutes ago.
At 06:06 the sun's light is being broken up into beams shining between clouds near the visible horizon. This accounts for the radiating pattern of light and dark: This is only four minutes after the previous shot. We are now nearing the end of the show.
Two minutes later, at 06:08, the display it pretty much over: The colours will fade quickly now as the sunrise moves into its second phase when the shiny orb pops above the horizon.
What follows is simultaneously less visually interesting and more difficult for the photographer. As the sun rises, the saturation of the colours will become more washed out by the intensity of the light and the contrast ratio of the brightness surrounding the sun compared to the rest of the scene will overwhelm nealy any camera that an individual human can afford.
I suppose the very rich might be able to afford such cameras, but I'm sure that they have more profitable things to do with their time. Anyway, they would simply hire someone like to to do it for them.
If there are any of the very rich out there reading this (seems unlikely to me), keep in mind that I'm very serious about my art and I work cheap.
If I've hooked you on sequential sunrises, you can see more of mine here, here, and here.
That should keep you occupied until the next time the boss comes around to see what you're up to.
~ "#TREVOR CARPENTER PHOTO CHALLENGE 2019" .... ~ ~ "Week #49" - "SEQUENTIAL ACTION" - 2019 ~
Manual Settings....
ISO 250
1/320
f/10
No Flash -
Nikon D7200 - Nikkor 18mm - 105 Lens
Edited in Lightroom CC
~ OK so I did it, maybe not the best but I did try 3 different scenes. I never have troubles with the camera it is usually with PhotoShop that I have problems. I watched many videos, spent hours the last few days yet, I just couldn't get it. I don't have it exactly right but I did get my photos together, so that is good for my part. This one I decided I had my husband stand with this happy face helium balloon, the problem is it was windy so it went where it wanted to. I took about 10 shots of this, decided on 5 but something happened to 1 so I went with this 4. I will put up my other attempts too. I am proud of myself for 70 years old to do this, I didn't think I would be able to.... ~
~ You can see more of my photos I took this week and other photos on My Flickr Page.... ~
Sequential sunrise, beginning just past the peak and gradually diminishing. The peak is usually a relatively brief time with quickly diminishing intensity. I just missed peak intensity on this one this morning.
pages / covers for Marvel comics project that never got offa tha ground. All characters © Marvel Comics
U.S. Army Africa Maj. Tre Wilcher III participates in a tactical decision scenario with officers of the Botswana Defense Force in Gaborone, Botswana, in early August.
Two U.S. Army Africa officers conducted a Military Decision Making Process seminar for Botswana Defense Force leaders Aug. 2-6 in Gaborone, Republic of Botswana.
Majs. Tre Wilcher III and Dan Kolva undertook the traveling contact team visit to present the U.S. Army approach to field grade officers of both the Botswana Ground Forces and the Botswana Air Wing, the two components of the BDF.
“The U.S. Army model of MDMP was introduced five years ago to the BDF, but previously has only been taught in the Command and Staff College. But now there seems to be a push to integrate it throughout their ranks for planning process at all levels,” Wilcher said.
The majority of participants held the rank of major, though there were a few warrant officers and noncommissioned officers in attendance as well. Participants included pilots, logisticians, military police, air defense and intelligence personnel, he said.
The seminar consisted of morning discussions regarding one or two of the seven MDMP steps followed by afternoon Tactical Decision Games or scenario exercises in which the BDF officers practiced the conduct of MDMP according to the U.S. Army model. The BDF officers were quick to grasp the MDMP and work with it as a planning tool, Wilcher said.
“They were overwhelmingly receptive to the concept and the seven steps,” Kolva said. “They conducted a candid analysis of the process and sequential steps, even to the extent of challenging the order we presented.”
The BDF officers occasionally worked through their scheduled breaks to ensure their grasp of particulars and the process as a whole, he said.
“The officers, warrants and NCOs that participated were always attentive to the subject. They displayed a real dedication to learning the process for the benefit of their branch and service,” Kolva said.
While in Gaborone, Kolva and Wilcher had the rare opportunity to tour the BDF’s “Snake Park,” a unique training environment that prepares BDF soldiers for deployments in the bush. The facility is home to not only snakes, but to lions, crocodiles, monkeys, hyenas and wild dogs among other creatures.
The BDF uses the facility to train soldiers to understand, react to and interact with the indigenous wildlife while conducting anti-poaching and border security missions.
“We learned something from them, too,” Wilcher said.
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