View allAll Photos Tagged Substrate
5050/3528 SMD Light Description:
A: use a very soft PCB board or FPC as the substrate, high brightness SMD LED as light, light emitting angles> 120 degrees, light evenly arranged on the bar circuit board positive, very slim, compact form factor.
B: every three LED can follow any of the above cut off tangent formed by the printed circuit board, with imports of 3M adhesive on the back for the paste. Clips can be equipped with red, yellow, blue, green, white and other light colors to choose from, RGB light bar with the controller may issue a variety of dazzling lighting effects.
C: widely used in three-dimensional light-emitting sub, signs, labels, advertising light boxes, etc., as a light source to use; the product waterproof performance, low-voltage DC power supply safe and convenient to use. 5 meters / roll disc packaging or 30CM 50CM / bar.
D: Main features:
1, can be bent, can be arbitrarily fixed in the concave and convex surfaces;
2, every three LED lights to form a loop;
3, small size, rich colors are widely used in building body contour, step, stand, bridge, hotel, KTV decoration
Shiitake mushroom growing on a substrate log is one of the many varieties displayed by To-Jo Mushroom Marketing Director Pete Wilder, in partnership with the American Mushroom Institute and Mushroom Council, to speaks about the commercial and home growing, selecting, storage and uses of mushrooms on display at the VegU education tent, during the U.S. Department of Agriculture (USDA) Peopleâs Garden - Farmers Market, on Friday, October, 29, 2016, in Washington, D.C. Mushrooms are being featured in food recipe demonstrations and samples at the VegU tent. White button, crimini, portabella, oyster, maitake (Hen of the Woods) and Royal Trumpet mushrooms are some of the cultivated mushroom varieties on display. He emphasized the technique of blending mushrooms with ground meat dishes to add moisture, fiber and added flavor to traditional recipes. USDA photo by Lance Cheung.
peoplesgarden.usda.gov
@USDA_AMS
#USDAFarmersMkt
Shiitake mushroom growing on a substrate log is one of the many varieties displayed by To-Jo Mushroom Marketing Director Pete Wilder, in partnership with the American Mushroom Institute and Mushroom Council, to speaks about the commercial and home growing, selecting, storage and uses of mushrooms on display at the VegU education tent, during the U.S. Department of Agriculture (USDA) Peopleâs Garden - Farmers Market, on Friday, October, 29, 2016, in Washington, D.C. Mushrooms are being featured in food recipe demonstrations and samples at the VegU tent. White button, crimini, portabella, oyster, maitake (Hen of the Woods) and Royal Trumpet mushrooms are some of the cultivated mushroom varieties on display. He emphasized the technique of blending mushrooms with ground meat dishes to add moisture, fiber and added flavor to traditional recipes. USDA photo by Lance Cheung.
peoplesgarden.usda.gov
@USDA_AMS
#USDAFarmersMkt
Potamotrygon leopoldi
Family
Potamotrygonidae
Distribution
Known only from the Rio Xingu basin and Rio Fresco in central Brazil.
Habitat
Like other members of the genus it inhabits a variety of biotopes. These include sand banks, the shallows of major rivers and slow-moving tributaries with substrates of mud or sand. It also move into areas of flooded forest during the annual wet season and can later be found in terrestrial lakes and ponds formed by the receding flood waters.
Maximum Standard Length
A large female can measure 24"/60cm across the disc. Males tend to be smaller.
Diet
Wild rays feed chiefly on other fish and aquatic invertebrates, including worms and crustaceans. They're active fish with a high metabolic rate and as such will need feeding at least twice a day. They're also notoriously big eaters and it's going to cost you a considerable amount of money to keep even a single specimen in good health. In general an exclusively meaty diet is preferable, although some will also learn to accept dried foods.
Juveniles (often sold simply as "teacup" rays regardless of species) relish live or frozen bloodworm, Tubifex, Artemia, krill and suchlike. Adults should be fed correspondingly larger foods, such as whole mussels, cockles, prawns, squid, whitebait (or other fresh fish) and earthworms. A varied diet is needed to keep the fish in top condition.
They're often a little reluctant to feed when initially imported, and usually arrive in quite a skinny state. It's very important to get them feeding as quickly as possible due to their metabolic requirements. Frozen foods may be refused at first, so bulk them up on live foods until they have enough weight to be safely weaned onto dead alternatives. Live bloodworm or earthworms (the latter can be chopped for small specimens) are generally considered to be among the best foods for conditioning newly imported rays.
Rays should not be fed the meat of mammals such as beef heart or chicken. Some of the lipids contained in these meats cannot be properly metabolised by the fish, and can cause excess deposits of fat and even organ degeneration. Similarly there is no benefit in the use of 'feeder' fish such as livebearers or small goldfish. Risks involved with these include the possible introduction of disease or parasites.
Breeding
Potamotrygon species utilise a breeding strategy known as matrotrophic viviparity. The young fish (often referred to as "pups") develop inside the mother and are born live and fully-formed. Inside the uterus of the female specialised filaments or villi develop. These secrete a milky substance known as histotrophe, from which the growing pups derive their nourishment once their yolk sacs have been used up. Litter size usually varies between 1-8 and gestation can take between months. Interestingly this period seems to be significantly shorter with rays breeding in aquaria, possibly due to the abundance of food they receive compared to wild fish. Successful captive breeding of several species has occured regularly in recent years, .
Rays can be picky when it comes to selecting a mate. Simply buying a pair of fish and putting them together will not guarantee a successful pairing. The ideal way to obtain a pair is to buy a group of juveniles, housing them in a huge tank and allowing them to select their own partners. However this is probably beyond the means of most hobbyists. It can also take several years for rays to become sexually mature, so a good degree of patience is required when starting with young fish.
If selecting a single pair try to choose similarly patterned specimens, and a bigger female than male. The comparative size of the pair is particularly important as courtship can be a somewhat violent affair, particularly if the female is unwilling to spawn. It's therefore essential that the she is large enough to defend herself. When in spawning condition the male will chase her incessantly, often biting her on the body and around the edge of the disc. He does so as in order to mate the pair must position themselves so that their bellies are facing each other. The male uses his mouth to take hold of the female and slide underneath her. If this behaviour continues for too long with no successful mating event real physical damage can occur. Keep a close eye on developments if your rays begin to show signs of mating behaviour, and have the facilities on hand to separate them if need be. You can try reintroducing them a few days later if necessary.
The spawning act itself is quite brief, lasting only a few seconds. Fertilisation occurs internally, the male inserting one of his claspers into the cloaca of the female before releasing his milt. Following a successful mating event the male should stop harassing his partner.
Gestation in captive rays generally takes between 9-12 weeks. During the latter stages the developing young can sometimes be seen as a visible (sometimes moving!) lump rising from the posterior end of the female's back, although in well-fed specimens this can be tricky to spot. It's essential to feed the female in sufficient quantities during this period as she will expend a lot of energy providing for her pups, and her appetite will increase significantly. Pregnant females are generally safe to be left in situ, although once the pups are born they're best removed to avoid predation by other tankmates. If the rays are being maintained alone the adults won't usually harm them although the chance is always there. Most breeders prefer to remove the pups for the sake of safety. The water in the tank is usually cloudy following a birth (this is thought to be caused by fluids released as the pups leave the body of the female), and a large water change is recommended once they've have been removed.
The pups usually have a small yolk sac attached at birth, and they will feed from this for anything up to a week. After the sac has been absorbed they should be offered high quality live and frozen foods several times a day. Some may initially refuse dead foods, but they can usually be weaned quite easily by mixing in a little live food when feeding. Growth is quite rapid with a stringent regime of water changes and the correct amount of food.
If you're lucky enough to own a pair of rays that are breeding regularly, give the female a break from the male after every 2-3 litters. Females use up a lot of energy in producing young and it may drastically shorten their lifespan if they're forced to mate continuously.
Successful captive breeding of Potamotrygon leopoldi has occured fairly regularly in the hobby. The pups don't exhibit the eye-catching colouration of the adults, having an overall mottled brown patterning (the spots are visible, but are also brownish in colour at this stage). In nature this probably serves to camouflage the pups from would-be predators.
New York Aquarium Coney Island NY
'Pondview Estates'
one of several mixed-media works by Darlene Charneco that was featured in
Urban/Suburban at the Islip Art Museum
curated by Karen Shaw
April 11- May 27, 2012
Reception April 22nd 1-4pm!
Darlene Charneco
Collaborations on Substrate
The layered mixed media models and tactile maps I create explore ways of seeing our human settlements, communication networks and communities through a biological lens and as part of a larger organism's growth stage. Clusters of houses sharing or sequestering resources and shorelines are pondered as sustainability experiments within imaginary laboratory or field observations . With playful shifts in scale perception, I strive to surprise and re-orient myself and the viewer into contemplation of the various interactions and types of symbiosis (parasitic, predatory or mutually beneficial) that we are continually co-evolving with other species and the living surface systems around and below us.
In addition to the resin mapping works, I maintain an ongoing and related studio practice of hammered nail prayers and weaves. ‘Bismuth City (The Empathetic Civilization’) and ‘WhiteWeave (Touchmap)’ are part of this ongoing series which incorporates ritual into its process. The abstracted cityscapes and undulating topographies of these pieces are formed by the aggregation of hopes and visualizations for a healthy planetary evolution, hammered in (and out) one per nail.
Pietra dura or pietre dure (see below), called parchin kari in South Asia, is a term for the inlay technique of using cut and fitted, highly polished colored stones to create images. It is considered a decorative art. The stonework, after the work is assembled loosely, is glued stone-by-stone to a substrate after having previously been "sliced and cut in different shape sections; and then assembled together so precisely that the contact between each section was practically invisible". Stability was achieved by grooving the undersides of the stones so that they interlocked, rather like a jigsaw puzzle, with everything held tautly in place by an encircling 'frame'. Many different colored stones, particularly marbles, were used, along with semiprecious, and even precious stones. It first appeared in Rome in the 16th century, reaching its full maturity in Florence. Pietra dura items are generally crafted on green, white or black marble base stones. Typically the resulting panel is completely flat, but some examples where the image is in low relief were made, taking the work more into the area of hardstone carving.
RELATED ARTS AND TERMS
Pietre dure is an Italian plural meaning "hard rocks" or hardstones; the singular pietra dura is also encountered in Italian. In Italian, but not in English, the term embraces all gem engraving and hardstone carving, which is the artistic carving of three-dimensional objects in semi-precious stone, normally from a single piece, for example in Chinese jade. The traditional convention in English has been to use the singular pietra dura just to denote multi-colored inlay work. However, in recent years there has been a trend to use pietre dure as a term for the same thing, but not for all of the techniques it covers, in Italian. But the title of a 2008 exhibition at the Metropolitan Museum of Art, New York, Art of the Royal Court: Treasures in Pietre Dure from the Palaces of Europe used the full Italian sense of the term, probably because they thought that it had greater brand recognition. The material on the website speaks of objects such as a vase in lapis lazuli as being examples of "hardstone carving (pietre dure)" The Victoria & Albert Museum in London uses both versions on its website, but uses pietra dura ("A method of inlaying coloured marbles or semi-precious stones into a stone base, often in geometric or flower patterns....") in its "Glossary", which was evidently not consulted by the author of another page, where the reader is told: "Pietre dure (from the Italian 'hard stone') is made from finely sliced coloured stones, precisely matched, to create a pictorial scene or regular design". The English term "Florentine mosaic" is sometimes also encountered, probably developed by the tourist industry. Giovanni Montelatici (1864-1930) was an Italian Florentine artist whose brilliant work has been distributed across the world by tourists and collectors.
It is distinct from mosaic in that the component stones are mostly much larger and cut to a shape suiting their place in the image, not all of roughly equal size and shape as in mosaic. In pietra dura, the stones are not cemented together with grout, and works in pietra dura are often portable. Nor should it be confused with micromosaics, a form of mosaic using very small tesserae of the same size to create images rather than decorative patterns, for Byzantine icons, and later for panels for setting into furniture and the like.
For fixed inlay work on walls, ceilings, and pavements that do not meet the definition for mosaic, the terms intarsia or cosmati work/cosmatesque are better used. Similarly, for works that use larger pieces of stone (or tile), opus sectile may be used. Pietre dure is essentially stone marquetry. As a high expression of lapidary art, it is closely related to the jewelers art. It can also be seen as a branch of sculpture as three-dimensionality can be achieved, as with a bas relief
HISTORY
Pietra dura developed from the Ancient Roman opus sectile, which at least in terms of surviving examples, was architectural, used on floors and walls, with both geometric and figurative designs. In the Middle Ages cosmatesque floors and small columns etc. on tombs and altars continued to use inlays of different colours in geometric patterns. Byzantine art continued with inlaid floors, but also produced some small religious figures in hardstone inlays, for example in the Pala d'Oro in San Marco, Venice (though this mainly uses enamel). In the Italian Renaissance this technique again was used for images. The Florentines, who most fully developed the form, however, regarded it as 'painting in stone'.
As it developed in Florence, the technique was initially called opere di commessi (approximately, "Fitted together works"). Medici Grand Duke Ferdinando I of Tuscany founded the Galleria di'Lavori in 1588, now the Opificio delle pietre dure, for the purpose of developing this and other decorative forms.
A multitude of varied objects were created. Table tops were particularly prized, and these tend to be the largest specimens. Smaller items in the form of medallions, cameos, wall plaques, panels inserted into doors or onto cabinets, bowls, jardinieres, garden ornaments, fountains, benches, etc. are all found. A popular form was to copy an existing painting, often of a human figure, as illustrated by the image of Pope Clement VIII, above. Examples are found in many museums. The medium was transported to other European centers of court art and remained popular into the 19th century. In particular, Naples became a noted center of the craft. By the 20th century, the medium was in decline, in part by the assault of modernism, and the craft had been reduced to mainly restoration work. In recent decades, however, the form has been revived, and receives state-funded sponsorship. Modern examples range from tourist-oriented kitsch including syrupy reproductions of 19th century style religious subjects (especially in Florence and Naples), to works copying or based on older designs used for luxurious decorative contexts, to works in a genuinely contemporary artistic idiom.
PARCHIN KARI
By the early part of the 17th century, smaller objects produced by the Opificio were widely diffused throughout Europe, and as far East to the court of the Mughals in India, where the form was imitated and reinterpreted in a native style; its most sumptuous expression is found in the Taj Mahal. In Mughal India, pietra dura was known as Parchin kari, literally 'inlay' or 'driven-in' work.
Due to the Taj Mahal being one of the major tourist attractions, there is a flourishing industry of Pietra Dura artifacts in Agra ranging from tabletops, medallions, elephants and other animal forms, jewellery boxes and other decorative items. This art form is fully alive and thriving in Agra, India though the patterns in the designs are more Persian than Roman or Medician.
WIKIPEDIA
With wall substrate absent, inner wall cavities reveal loose, blown-in fibrous insulation. This particular insulation material was tested and found not to contain asbestos and was indicated as "mineral wool".
Andalusia (/ˌændəˈluːsiə, -ziə, -ʒə/; Spanish: Andalucía [andaluˈθi.a]) is an autonomous community in southern Spain. It is the most populous and the second largest in area of the autonomous communities in the country. The Andalusian autonomous community is officially recognised as a "historical nationality". The territory is divided into eight provinces: Almería, Cádiz, Córdoba, Granada, Huelva, Jaén, Málaga and Seville. Its capital is the city of Seville (Spanish: Sevilla).
Andalusia is in the south of the Iberian peninsula, in south-western Europe, immediately south of the autonomous communities of Extremadura and Castilla-La Mancha; west of the autonomous community of Murcia and the Mediterranean Sea; east of Portugal and the Atlantic Ocean; and north of the Mediterranean Sea and the Strait of Gibraltar. Andalusia is the only European region with both Mediterranean and Atlantic coastlines. The small British overseas territory of Gibraltar shares a three-quarter-mile land border with the Andalusian province of Cádiz at the eastern end of the Strait of Gibraltar.
The main mountain ranges of Andalusia are the Sierra Morena and the Baetic System, consisting of the Subbaetic and Penibaetic Mountains, separated by the Intrabaetic Basin. In the north, the Sierra Morena separates Andalusia from the plains of Extremadura and Castile–La Mancha on Spain's Meseta Central. To the south the geographic subregion of Upper Andalusia lies mostly within the Baetic System, while Lower Andalusia is in the Baetic Depression of the valley of the Guadalquivir.
The name "Andalusia" is derived from the Arabic word Al-Andalus (الأندلس) The toponym al-Andalus is first attested by inscriptions on coins minted in 716 by the new Muslim government of Iberia. These coins, called dinars, were inscribed in both Latin and Arabic. The etymology of the name "al-Andalus" has traditionally been derived from the name of the Vandals; however, a number of proposals since the 1980s have challenged this contention. Halm in 1989 derived the name from a Gothic term, *landahlauts, and in 2002, Bossong suggested its derivation from a pre-Roman substrate. The region's history and culture have been influenced by the native Iberians, Phoenicians, Carthaginians, Greeks, Romans, Vandals, Visigoths, Byzantines, Jews, Romani, Muslim Moors and the Castilian and other Christian North Iberian nationalities who reconquered and settled the area in the latter phases of the Reconquista.
✔️ Download PICTURES by Lucie.R : www.dropbox.com/sh/7gwtx9sv9ielgik/AAD9ROiNaRJO5F13QGtXyF...
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👑 Senses : 👀 Vision 👆 To Touch 💃 Proprioception 👂 Hearing Equilibrioception 👃 Smell ♨️ Thermoception
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️ eXploration 21
🌟 eXploration of "Andalusia"
💫 Spain/Europe World
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✨ eXploration (️)
📝 Type : Ground eXploration
🎨 Style : eXploration Somewhere in Spain
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❓ WHY : To eXplore Andalusia
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🕓 WHEN : May, 2018
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Product Name: Blue Camping Tent
Product No: GN073
Size: 20mLx10mWx6mH
Material: 0.6mm PLATO PVC Tarpaulin
Cert: CE, SGS, En14960, En71
Feature: High Durability, High Tear Strength, Fade Proof, Flame Retardant M2/B1, Anti-Mildew Treatment, Excellent UV-Resistance, Cold Weather Resistance, Waterproof, Anti-Static, Heat-Insulation
Contact Site:http://www.pangoinflatable.com/
Not just fit and finish, Pango make a second blower tube and hide it if not use. We make the two tubes on different of the bouncer so that could fit the power location. Looking down the road you will find you need a second inflation tube. We want to make sure clients could use the bouncer convenient.
Stronger Baffles
Baffles that are secured by a 840 denier material that provides the MAXIMUM strength of the internal baffling of every inflatables. This material upgrade is unmatched by anyone else in the industry. This material is key to the overall durability of the products we sell.
D Ring Expose
Take a close look at the construction of the "d" rings in the products we sell. A tether system is only as strong as its weakest link. Tether points on the inflatable are extremely durable. The "d" ring tethering System have been laboratory-tested and certified by Professional Engineers for use on all giant slides and all other types of inflatables.
Vinyl（PVCTarpaulin） Expose
At Pango Inflatable, the only products we sell are constructed from the finest coated vinyl. Unlike other vinyl producers, the Coated Vinyl are Lead-Free in addition to meeting the EN71 test by SGS. Lead-Free vinyl are a standard that has been that way since day one. Exposure to lead is dangerous to children. The products Pango Inflatable sell are safe from the effects of lead. As for durability, the materials are a weft inserted substrate, which makes any possible rips virtually impossible.
No Wax Surfaces
We provide removable sliding surfaces for every slides we made, While other only provide the normal vinyl, Inflatable vinyl is not naturally slippery, therefore, waxing has become a normal preparation for getting a slide ready for use. The removable sliding surface found the on the products we sell is a high polished urethane coating, which in turn reduces the need to wax.
Zipper with Flaps
Unlike others, Pango Inflatable sells products that are easy to use. For example, the deflation zipper utilizes a Velcro flap that covers the zipper, thus, less air is lost and zippers are not exposed to abrasion or mischief.
Blower Tube Strap
While most manufacturers tie their blower inflation tubes to the blower system, however, the products Pango Inflatable sells, utilizes a universal sleeve with a cinching Velcro strap. One- handed operation keeps the tube securely attached to the blower system.
Liquid Laminator
DWe do the Digital Printing in our factory, unlike most factory here in China, they do the printing outside and could not control the delivery time and the quality. igitally printed graphics are one thing, keeping those beautiful images durable as well scratch and fade resistant is quite another. Every digital image used within an inflatable sold by Pango Inflatable is clear-coated with a special liquid laminate that is vulcanized to the vinyl surface.
Finger-Safe Netting
Most bouncer manufacturers use 1" or 2" netting. A child bouncing can easily catch their fingers in that size of netting, thus serious injuries can happen. Only the Pango Inflatable could provide netting that even a small child's finger cannot penetrate. Yet, the netting is still transparent enough to allow for easy viewing.
Removable Covers
Virtually every area that your customers step, slide or climb upon is on a replaceable & easily removable vinyl cover. From climbing stairs, to entrance tunnel sleeves to sliding surfaces, Pango Inflatable only sells products that are designed for high-volume traffic.
Safety Door on Bouncers
Worried about children possibly falling out of a bouncer? Don't be. We got 3 points of reinforcement on the entrance of the bouncer which make the entrance very strong. Also we add the step outside the entrance following the AU and USA standards of jumping castle.
On-Staff Engineering and Designing
We do reinforce stitching at the fixion of D-ring. Four stitching line will share the tension of the bouncer. This made the D-ring last much longer and stronger. Other factory use other design of the fixion, but will not good for the tension sharing. Could find the differnce in the attached photos.
Cushion Designs
We do cushion between the wall and the base. When the kids bounce on the bouncer this parts bear most of the pressure, so this new design will make this parts much more strong and safety, while other factory only stitch to the base.
Step 2, glueing on the mirror tiles. When I was making the bottle, I kept seeing that same design on a tissue box, so couldn't wait to start on it.
substrate- paper
color- acrlic paint washes
blog-www.carolbsloan.blogspot.com
These are pages that will be going into an art journal that I am making. I am using light molding paste to add texture to the page without adding a lot of weight at the same time. Check out my blog for more info.
To what extent is a laser really a single frequency of light?
If it is a laser locked to this cavity, its frequency of 519 THz is stable to about 0.2 Hz over several seconds.
Though much more monochromatic than any thermal source of light, the stability of a laser frequency is never perfect. One way to dramatically improve a laser's stability is to build an exquisite length standard, and transfer the stability of the length to the laser by means of feedback. You can read all about the latest best results, published recently, or on the arXiv preprint server.
So what's this thing?
Above is a Fabry-Perot optical cavity, made from ultra-low expansion (ULE) glass, a 30 cm long giant, somewhat like the vertically mounted design described here. Fused silica mirror substrates, coated with state-of-the-art dielectric high-reflection film layers, are optically contacted to a machined block of ULE glass featuring a bored hole down the length, and mounting "cut-outs" that reduce the sensitivity to vibrations. Because transmission through the cavity only occurs when an integer number of half-wavelengths fit between the mirrors, it serves as our length/wavelength/frequency standard.
The cavity is made long so that the Johnson thermal noise—jitter in the length of the cavity amounting to one fifth the width of a proton or so over 1 second—is small on a fractional basis. It is made thick to be rigid, and to minimize the length change via the bulk modulus. Thermal drift is kept small by finding and maintaining the glass temperature at a "zero-crossing" of the coefficient of thermal expansion (in our case, about 32°C). The leftover "quadratic temperature coefficient" is less than 2 (ppb/°C)/°C. The cavity is mounted on an insulating, stiff U-shaped block of ULE, which rests on viton. Not shown is a ~1 cm thick heat shield made from polished aluminum that surronds the cavity on five sides.
The vacuum chamber is made from aluminum, is temperature stabilized, and is kept below 1 x 10^-6 Torr by a sputter ion pump. The index of refraction of the trace gas (hydrogen) left in the cavity bore shifts the resonant frequency 24 Hz at this pressure, so we clearly should be doing better vacuum work to reduce our sensitivity to pressure fluctuations.
Slowly, but surely, the glass creeps, taking our reference length/frequency along for the ride. But the ultimate goal is to use the glass merely as a short-term flywheel to stabilize a laser which interrogates an optical atomic transition. Feedback from the atoms forms long-term stabilization that turns the laser into an accurate clock or frequency standard.
Is this the only way to do it?
There's some really interesting work going on in the art of spectral hole burning that might supersede the performance of these glass cavities.
Substrate- paper
Color- fluid acrylic washes
blog- www.carolbsloan.blogspot.com
This is the back of a folio that I am preparing to add to an art journal that I am making. I added stitch to the front of the page before adding paint to it. This is an example of a "happy accident" on the back of the page. Check out my blog for more info!
Xanthoparmelia species in that it grows unattached to any substrate.[6] The thalli have no rhizines to anchor its lower surface. In dry conditions, it rolls up into a ball that can be up to 30 millimetres (1.2 in) in diameter, and can be blown about in the wind. When it becomes wet, the ball unrolls and changes to a foliose form with dichotomous branches, and becomes darker in colour.[2][7] Although it rarely fruits, specimens with mature and immature fruits are occasionally seen. en.wikipedia.org/wiki/Xanthoparmelia_semiviridis
Andalusia (/ˌændəˈluːsiə, -ziə, -ʒə/; Spanish: Andalucía [andaluˈθi.a]) is an autonomous community in southern Spain. It is the most populous and the second largest in area of the autonomous communities in the country. The Andalusian autonomous community is officially recognised as a "historical nationality". The territory is divided into eight provinces: Almería, Cádiz, Córdoba, Granada, Huelva, Jaén, Málaga and Seville. Its capital is the city of Seville (Spanish: Sevilla).
Andalusia is in the south of the Iberian peninsula, in south-western Europe, immediately south of the autonomous communities of Extremadura and Castilla-La Mancha; west of the autonomous community of Murcia and the Mediterranean Sea; east of Portugal and the Atlantic Ocean; and north of the Mediterranean Sea and the Strait of Gibraltar. Andalusia is the only European region with both Mediterranean and Atlantic coastlines. The small British overseas territory of Gibraltar shares a three-quarter-mile land border with the Andalusian province of Cádiz at the eastern end of the Strait of Gibraltar.
The main mountain ranges of Andalusia are the Sierra Morena and the Baetic System, consisting of the Subbaetic and Penibaetic Mountains, separated by the Intrabaetic Basin. In the north, the Sierra Morena separates Andalusia from the plains of Extremadura and Castile–La Mancha on Spain's Meseta Central. To the south the geographic subregion of Upper Andalusia lies mostly within the Baetic System, while Lower Andalusia is in the Baetic Depression of the valley of the Guadalquivir.
The name "Andalusia" is derived from the Arabic word Al-Andalus (الأندلس) The toponym al-Andalus is first attested by inscriptions on coins minted in 716 by the new Muslim government of Iberia. These coins, called dinars, were inscribed in both Latin and Arabic. The etymology of the name "al-Andalus" has traditionally been derived from the name of the Vandals; however, a number of proposals since the 1980s have challenged this contention. Halm in 1989 derived the name from a Gothic term, *landahlauts, and in 2002, Bossong suggested its derivation from a pre-Roman substrate. The region's history and culture have been influenced by the native Iberians, Phoenicians, Carthaginians, Greeks, Romans, Vandals, Visigoths, Byzantines, Jews, Romani, Muslim Moors and the Castilian and other Christian North Iberian nationalities who reconquered and settled the area in the latter phases of the Reconquista.
✔️ Download PICTURES by Lucie.R : www.dropbox.com/sh/7gwtx9sv9ielgik/AAD9ROiNaRJO5F13QGtXyF...
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👑 Senses : 👀 Vision 👆 To Touch 💃 Proprioception 👂 Hearing Equilibrioception 👃 Smell ♨️ Thermoception
⚡ Intelligences : ️ Spatial Intelligence
⛹️ Kinesthetic Body Intelligence
👨👩👧👦 Interpersonal Intelligence
🌲 Ecologicalist Naturalist Intelligence
🔭 Existential Intelligence
📋 WHAT :
️ eXploration 21
🌟 eXploration of "Andalusia"
💫 Spain/Europe World
🌌 Nature Galaxy
✨ eXploration (️)
📝 Type : Ground eXploration
🎨 Style : eXploration Somewhere in Spain
🔊 Language : International (🇬🇧 description in English, but comprehensible by the whole world)
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⚠ The items are sorted by the most appropriate categories. But can not be completely exhaustive on social networks. You can use our site or our application. If you want total exhaustiveness and much more.
📏 HOW MUCH :
👑 7 Senses
⚡ 5 Intelligences
WHO :
🎥 Filmed by Lucie.R & Fabien.G
📡 Posted by LG
📼 Video made by LG (Windows Movie Maker 2017)
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© Ikson (🎵Music)
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❓ WHY : To eXplore Andalusia
📍 WHERE : Spain 🇪🇸
🕓 WHEN : May, 2018
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Step 1, This is the substrate for the Mirror Mosaic Tissue Box Cover. I foiled and soldered clear glass to make the box which will be mosaiced in mirror tiles.
Arthi Murugesan presenting A Cognitive Substrate for Natural Language Understanding Nick Cassimatis , Arthi Murugesan and Magdalena D. Bugajska of the Human Level Intelligence Lab Rensselaer Polytechnic Institute
"The goal of the Human-Level Intelligence Laboratory is to design machines with human-level intelligence and explain human intelligence."
Technical Session # 3: Language and Cognition at the The First Conference on Artificial General Intelligence (AGI-08)
This room is The Zone, at the FedEx Institute of Technology, University of Memphis. It was a very good venue for this conference.
Artificial General Intelligence (AGI) research focuses on the original and ultimate goal of AI -- to create intelligence as a whole, by exploring all available paths, including theoretical and experimental computer science, cognitive science, neuroscience, and innovative interdisciplinary methodologies. AGI is also called Strong AI in the AI community.
Another good reference is Artificial General Intelligence : A Gentle Introduction by Pei Wang
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