View allAll Photos Tagged Ultrathin
it can do both at the same time, you see, because it is so very long that it had to be divided into 2 separate bindings (each using ultra-thin 16lb paper).
Here is the link to Bell County Museum where the exhibit opens June 6, 2009:
This is what the Gault Dig Site is all about with a link to the University Gault Site Webpage:
www.utexas.edu/research/tarl/research/gault_description.php
Artifacts
Interpreting the Clovis Artifacts from the Gault Site
by Michael B. Collins and Thomas R. Hester
Photographs by Milton Bell.
Clovis, that early Paleolithic Indian cultural horizon generally believed to date between 10,900 and 11,200 years ago across much of North America, has recently come under intensive study by archaeologists. Several factors probably account for this increase in research activity, but the principal one is a result of Clovis having long been accepted as the archaeological evidence of the first people to live in the Americas. This view has often been challenged unsuccessfully, but in the past decade, numerous scholars have brought forth strong and exciting evidence that people were in the Western Hemisphere prior to Clovis times.
"PreClovis," as it has come to be called, is still a controversial topic and one that is being vigorously pursued by linguists, physical anthropologists, human geneticists, and archaeologists. Linguists specializing in the evolution of language are using computers to probe deeply into comparative vocabularies and language structures and are finding that the immense range of languages (some 1500) spoken by American Indians includes a few that seem to have split off from their sister languages of Europe and Asia long before 11,000 years ago. Based on this, some linguists suggest that people came to the New World by 20,000 years ago. Genetics also shows that some American Indians are so distinctive from other populations that their reproductive separation must have occurred in the very remote past, certainly before Clovis times. A drawback with the linguistic and genetic lines of evidence is that while information on timing may be reasonably accurate, there is no way to know where the splits occurred.
Early human skeletons found in the New World, none of them dated definitively to preClovis times, nonetheless indicate some interesting facts about early populations in the Americas. The few human skeletons in the Americas that can be reliably dated as older than 10,000 years before present have features more in common with similar-aged Australian aborigines and South Central Asians than they do with the peoples of Siberia who have always been considered the stock from which the first colonizers of the Americas derived.
Archaeologists have recently found and reported prehistoric sites from Alaska and Canada to southern South America with radiocarbon dates and other compelling evidence that people may have arrived in the New World by 18,000 or 20,000 years ago. One of the most widely discussed of these sites is Monte Verde in southern Chile where a dated occupation of almost 13,000 years ago has gained acceptance among many, but not all, archaeologists. An earlier archaeological stratum at the same site, dated to ca. 30,000 years ago, is still highly controversial.
While Clovis seems to be losing its place as the oldest culture in the New World, important new ideas about the Clovis culture itself are developing. Earlier in this century, most known Clovis sites consisted of places where the distinctive Clovis projectile points (Figure 1) were found with the bones of large mammals, particularly mammoths. Most scholars concluded from this evidence that Clovis peoples were specialized, nomadic mammoth hunters. Recent discoveries and new analytical techniques, however, have shown that Clovis people were generalized hunters and gatherers who lived on everything from turtles and alligators to foxes and opossums along with an occasional mammoth, bison, or horse. The traditional view of Clovis culture has crumbled along with the iron curtain.
American scholars lacking detailed knowledge of the archeology of Siberia have long assumed that the origins of Clovis culture would be found in northeastern Asia. This assumption was a key piece in the prevailing interpretation that 11,500 years ago people migrated out of northeastern Asia, crossed the land bridge that formed between Siberia and Alaska during the last glacial lowering of sea level, and came down an ice-free corridor in western Canada into the vast unpeopled continents of North and South America. Lacking people but rich in big game unaccustomed to human hunters, the New World would have been a hunting people's dream-come-true. Clovis hunters were even thought to have been so effective that they caused the extinction of the mammoth and perhaps other animals.
Since glasnost [openness], it has been possible for archaeologists on both sides of the Bering Sea to collaborate closely on the question of the peopling of the Americas, only to find no clear antecedents for Clovis culture in Siberia. A few archaeologists, this author (Collins) included, have begun to look farther west into Europe for the origins of Clovis and find some very provocative similarities between certain Upper Paleolithic cultures of Western Europe and Clovis. These Paleolithic cultures include the Aurignacian (40,000-20,000 B.P.), Solutrean (20,000-16,000 B.P.), and Magdalenian (16,000-11,000 B.P.).
Some of the better evidence for making those comparisons comes from the Gault Site. To generalize briefly, all of the Upper Paleolithic cultures of Western Europe share the traits of prismatic blades and burins made of flint along with various tools made of bone and antler. The well-known cave paintings of France and Spain are also the work of Upper Paleolithic people. Of more specific interest are (1) blades, blade cores and beveled-base bone and antler points found in Aurignacian sites; (2) large, thin bifaces and spear points of Solutrean affiliation; and (3) less well known aspects of Magdalenian art, including small, flat engraved stones called plaquettes. Some of these traits are shared with Clovis assemblages found widely across North America, some are restricted to only part of the Clovis range, and two are known almost exclusively from the Gault Site. Clovis flint knappers all across North America made the distinctive Clovis fluted points from equally distinctive preforms (Figure 2). One distinctive characteristic of these preforms is that flakes were often driven all the way across the face of the biface from one edge to the other--in fact sometimes even removing the opposite side of the biface in what is called an "overshot" flake (Figure 3). This peculiar fashion of making bifaces is shared with the Solutrean of France and Spain. Even though this pattern is seen in many Clovis sites, a number of outstanding examples have come from the Gault site. Clovis blades (Figure 4) and blade cores (Figure 5) are found abundantly in sites in the southeastern United States, moderately abundantly in Texas sites, and sparsely in the southwestern states and in the Great Plains. They are virtually absent in the northeastern states, around the Great Lakes, and in the far western states. Where they are found, Clovis blades and blade cores resemble similar artifacts from all Upper Paleolithic cultures, but especially those of Aurignacian, Solutrean, and Magdalenian affiliations. The Gault site has yielded the largest assemblages of such Clovis artifacts in Texas and one of the largest in North America.
Beveled-base points of bone and antler, similar to those found in the Aurignacian, have been found in a few Clovis sites on the High Plains, but none has yet been found in Texas. Another distinctive bone artifact, called a shaft wrench, found at a Clovis site in Arizona, is very similar to shaft wrenches of antler and bone from Magdalenian sites in Europe. In the areas of the Gault site investigated thus far, bone preservation has been very poor, and no artifacts of bone or antler have been found.
Clovis-age engraved stones are presently known from only two sites in the western hemisphere besides Gault, one specimen each from the Clovis site in eastern New Mexico and the Wilson-Leonard site just north of Austin. In contrast, at least 30 such stones have been found at the Gault site (Figure 6). Magdalenian engraved plaquettes generally depict animals such as reindeer, mammoths, and horses whereas those from the Gault site are almost exclusively of geometric patterns. However, geometric paintings and engravings are common in Magdalenian art on the walls of caves, especially at Lascaux. Portable art objects in most of the other Upper Paleolithic cultures of Europe are carved, three-dimensional human forms. In the upper Paleolithic of Siberia, similar carved objects depict animals (usually mammoths). These are unlike anything yet reported in Clovis context. All of these comparisons are intriguing, but at the moment they only raise interesting possible interpretations.
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In our view, there are enough similarities and they are close enough in certain details that we have to seriously consider the possibility that fairly close historical ties exist between Clovis and the Upper Paleolithic of western Europe. Details of that history will be learned only after long and intensive research by many investigators. So far, the evidence from preClovis sites in North and South America indicates cultures greatly different than Clovis that do not seem likely candidates as the origin of Clovis. This raises the possibility that peoples were in the Americas before the time of Clovis culture, but that the origins of Clovis may have been in western Europe - perhaps the result of multiple migrations.
Two other aspects of the stone artifacts from the Gault site deserve mention. Lacking direct evidence in the form of preserved plant remains, archeologists have been left to speculate on what uses Clovis peoples may have made of plants. Microscopic use wear study of four Clovis blades reveals that, among other tasks, these were used for cutting grass or other plants rich in silicate (see Inman and Hudler 1998).
Another intriguing problem is developing from comparative study of the lithic tools made by Clovis and Folsom peoples. Folsom (ca. 10,300-10,800 B.P.) is the culture that immediately follows Clovis on the plains and in the southwestern United States. It, too, is best known for its diagnostic fluted biface, the delicate Folsom point. But scholars in the past decade have also identified some very distinctive, thin flint knives, known as "ultrathin" bifaces, that were made and used by Folsom peoples. These highly distinctive ultrathin bifaces (so called because they are between 7 and 13 times as wide as they are thick) have been found at the Gault site (Figure 7). They have also been found at the Wilson-Leonard site as well as a site called Pavo Real (41BX52) in San Antonio. At these three sites, and only these three sites in North America, there is evidence that ultrathin bifaces are older than previously thought. At Gault, they have been found in the same deposits as the Clovis materials, but so far no Folsom points have been documented as having come from that same depth (although there is at least one Folsom point known to be from the site). At Pavo Real, Clovis and Folsom artifacts are found together. It has not been possible to radiocarbon date the Clovis deposits at either Pavo Real or Gault. At Wilson-Leonard, a very early Clovis horizon has been dated (ca. 11,500 to almost 12,000 B.P.) and just above it were found ultrathin bifaces (but no Folsom points) in a deposit dated between 11,000 and 11,500 B.P.). These findings raise the possibility that here in central Texas lie the origins of the distinctive ultrathin biface technology that later became a hallmark of Folsom culture.
It should be obvious from this brief discussion that the Gault site has much to offer scholars who are studying the early cultures of North America. It may well hold some clues to the origins of Clovis culture and the historical relationships between Clovis and Folsom. These are daunting questions and the research required to begin to answer them will take a long time. It will, however, be a most interesting time.
... and I just received this Email from the Executive Director:
Mr. Strain;
I ran across your Flickr posting and would like to thank you for posting the information regarding the Gault School of Archaeological Research.
We have been very impressed by Jim's work - his representation of our dig is incredibly realistic down to the rusted rebar and dirty mason twine! The opening of the exhibit was very well atended with more than 200 peole on Friday and about the same number on Saturday and all expressed their admiration for a first-class exhibit.
Clark
D. Clark Wernecke
Executive Director
The Gault School of Archaeological Research
I've packed a vegetarian Salad Bowl bento in the Saladbook. It turned out well - please read more about this bento and my review at my blog: Happy Little Bento!
Immuno-electron microscopy sample processing. Nickel slot-grids carrying ultrathin (50-100 nm thick) sections of Epon-embedded samples rest on the drops of of buffer solution after being etched in hydrogen peroxide.
Experiment was successful. See here.
Natural colors, since process takes place in a box of tranparent blue plastic.
"The design of the pavillon consists of 151 custom laminated lightweight beech plywood segments. In order to combine these ultra-thin plywood strips into a structurally stable configuration, newly developed robotic sewing techniques for prefabrication and manual lacing on site are applied."
further information:
photographed by
Frank Dinger
BECOMING - office for visual communication
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ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Roman Architecture, Beyond the Colosseum, THE NEW YORK TIMES (27|01|2015).
For people who love contemporary architecture, trying to find striking new buildings in the historic center of Rome is about as easy as trying to go gluten-free there. But if you move a little farther out — or a lot — there are stunning treasures to find, from museums to stadiums to churches, not to mention animated new neighborhoods that you probably would have never explored in the first place.
I undertook a breakneck tour of these newly completed structures, in widely varying districts, last summer with two on-call critics: my septuagenarian parents, self-professed architecture lovers who are not shy about their opinions. We traveled the streets of Rome largely by car, a method of transportation that brought out the, let’s say, raw side of the Roman population. Luckily, the buildings were as dramatic as the drive, but much less stressful.
Jubilee Church
As we headed into the city from Umbria, we wove in and out of traffic, through a steady progression of crowded traffic circles and bizarre turn-offs, somehow happening upon Richard Meier’s Jubilee Church, also known as the Chiesa di dio Padre Misericordioso. It’s in the eastern neighborhood of Tor Tre Teste, a shabby area of tall housing blocks from the ’60s and ’70s that evokes the notorious banlieues of Paris.
Created in 2003, the bright white church is covered with a curved shell of multiple travertine and concrete walls pierced by huge sheets of glass. It’s closed off with high white fences, and this fortresslike aspect, along with the rain and dirt streaks smudged into the building’s white surfaces (why white in polluted Rome?), first left us cold.
The church had just closed when we came by, but even from the fence we could see that the interior space for worshipers was a glorious contrast to the scene outside. Its extra tall spaces were full of air, light, white marble and warm wood — elegant sublimity. Angled sunbeams from above hit the floors and filled the space with a soft glow, leaving us all impressed.
Maxxi Museum of 21st Century Arts
Instead of waiting five hours for the church to reopen, we decided to go over to Flaminio, a low-key and lush residential area northwest of the city center. Despite the always fast-moving traffic, the quarter has some breathing space, and there are far fewer tourists wandering the streets than there are just a few miles in. The interesting architectural sites — many of them built in recent years — are close by, giving us a good excuse to leave the car and walk.
The most talked-about new building here is the Maxxi Museum of 21st Century Arts, which opened in 2009. Designed by the London architect Zaha Hadid, the impressive edifice — whose wavy, zigzagging geometries were inspired by the very urban grid that we had been struggling to navigate — jogs through and around an early 20th-century military barracks. Its large plaza encourages you to wander and gawk at a facade that constantly defies gravity with its large cantilevers and ultrathin columns.
Walk inside and you can’t help but be energized by the flow of space and light. Concrete floats like glass, ramps move in several directions, and your eye is able to span the cavernous lobby, open to all levels. The galleries alternate between traditional square boxes and not-so-traditional sweeping ones. My star-struck father loved the building, but my mother found the wavy walkways and stairs too discombobulating. I loved the structure’s exuberance, but was surprised it didn’t have more gallery space.
Ponte della Musica, Palazzetto dello Sport and Parco della Musica
I momentarily went off on my own to stare at the graceful white girders of the Ponte della Musica, an impressive new pedestrian bridge spanning the Tiber. Designed in 2011 by the British engineering firm Buro Happold, it has arches that lean outward as if they were being slowly pushed apart. I rejoined my parents at the Maxxi to walk just one block for a view of Pier Luigi Nervi’s Palazzetto dello Sport, an indoor arena for the 1960 Olympic Games and an exquisite example of midcentury futurism. The white building’s ribbed concrete shell waves up and down, supported by a ring of braces. It looks like an aging spaceship. The paint is peeling badly, but in this town of ruins, it feels like a poetic modern vestige. The area inside is still reserved for sports like basketball, and it’s worth a look: The elaborate structural ornamentation is mesmerizing. It is a practical sculpture if there ever was one.
A block east is an extraordinary performance center, the Parco della Musica, by the Italian architect Renzo Piano. The complex, opened in 2002, is deceptively simple and smart. Three brick performance halls are covered with weathered armadillo-shaped steel shells, lifted above a large plaza and amphitheater. It looks foreboding in pictures, but in reality it’s a lovely, tree-lined complex set at the street level with a string of cafes and shops. Even the nearby highway overpass has offices underneath. The theaters inside are heavy in woods, fabrics and typical Piano elegance. You should try to get tickets.
Macro
Just northeast of the historic center is the upscale district of Salario. It reminds me of Paris’s 16th Arrondissement, a stately residential area full of neo-Classical buildings, embassies, outdoor markets and upscale stores. In the middle of it all is the Macro (Museo d’Arte Contemporanea Roma), a contemporary art museum inside the former Peroni Brewery, expanded in 2010 by the maverick French architect Odile Decq.
Ms. Decq’s stated goal was to make the museum experience less predictable, and she has done that in spades, creating weird and noteworthy experiences inside a vastly divergent series of spaces. At different points walk on a steel catwalk above the art (which varies wildly in quality), advance to a rooftop with views of the neighborhood and of one of the museum’s own murals, walk through false doors in and out of the structure, and linger on a plate-glass floor looking down at the people below. And please don’t miss the bathrooms if you like curvaceous fiberglass furniture and swiftly changing colors.
Of all the buildings we’d seen that day, this was the most original, and my parents approved. “It was a museum for everyone,” commented my father, who imagined taking friends and grandchildren alike.
From here we got back into the car, risking life and limb to find dinner in the congested heart of the city. It was a wondrous and dangerous ride, full of remarkably loud obscenities from Italian cabbies.
All the while I missed being in the farther reaches of Rome, experiencing places a little less frozen in time, and a little more full of unpredictable, strange possibilities.
FONTE | SOURCE:
-- THE NEW YORK TIMES (27|01|2015).
www.nytimes.com/2015/02/01/travel/roman-architecture-beyo...
s.v.,
-- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: The Roman architecture of Mussolini,still standing. One of the world’s great cities bears the signature of a Fascist dictator, and nobody wants to talk about it. THE BOSTON GLOBE (13 July 2014).
"The design of the pavillon consists of 151 custom laminated lightweight beech plywood segments. In order to combine these ultra-thin plywood strips into a structurally stable configuration, newly developed robotic sewing techniques for prefabrication and manual lacing on site are applied."
further information:
photographed by
Frank Dinger
BECOMING - office for visual communication
Red muscovite mica from Ontario, Canada. (~7.8 centimeters across at its widest)
A mineral is a naturally-occurring, solid, inorganic, crystalline substance having a fairly definite chemical composition and having fairly definite physical properties. At its simplest, a mineral is a naturally-occurring solid chemical. Currently, there are over 5600 named and described minerals - about 200 of them are common and about 20 of them are very common. Mineral classification is based on anion chemistry. Major categories of minerals are: elements, sulfides, oxides, halides, carbonates, sulfates, phosphates, and silicates.
The silicates are the most abundant and chemically complex group of minerals. All silicates have silica as the basis for their chemistry. "Silica" refers to SiO2 chemistry. The fundamental molecular unit of silica is one small silicon atom surrounded by four large oxygen atoms in the shape of a triangular pyramid - this is the silica tetrahedron - SiO4. Each oxygen atom is shared by two silicon atoms, so only half of the four oxygens "belong" to each silicon. The resulting formula for silica is thus SiO2, not SiO4.
Muscovite mica is a common phyllosilicate with the formula KAl2(AlSi3O10)(OH)2 - potassium hydroxy-aluminosilicate. It has a nonmetallic luster, a hardness of about 2, forms hexagonal crystals, and has one perfect cleavage. Muscovite mica can be peeled into ultrathin sheets, which is a consequence of its cleavage. Thin cleavage sheets are noticeably flexible (elastic). Thicker pieces of muscovite are grayish-colored. Thin sheets are clear/colorless.
Seen here is a rare color variety of muscovite mica - the rock is composed of numerous red muscovite crystals. I have not encountered any specific information about why it is red. I have not been able to determine its geologic context or age (but it's probably Precambrian).
Locality: unrecorded/undisclosed site at or near the town of North Bay, eastern side of Lake Nipissing, southeastern Ontario, southeastern Canada
The Cliff of the Two-Dimensional World is the 2011 International Science & Engineering Visualization Challenge People's Choice Winner in photography. The challenge is sponsored by the National Science Foundation (NSF) along with the journal Science, published by the American Association for the Advancement of Science (AAAS).
This landscape, which looks like a red-rock bluff straight out of Utah, isn't a geologic feature. Instead, it's a nanostructured material made from ultrathin layers of titanium-based compounds, as seen under an electron microscope. These exfoliated layers, which Babak Anasori and colleagues at Drexel University in Philadelphia dubbed MXenes, are so thin they are two-dimensional. In other words, each strip is only five atomic layers thick. The team is the first to render such materials in 2-D. The MXenes could be used in energy storage devices, sensors, solar cells and other applications, the team writes. And they could give the majesty of Arches National Park in Utah some nanoscale competition.
Credit: Babak Anasori, Michael Naguib, Yury Gogotsi, Michel W. Barsoum, Drexel University
Reciprocal linkback: Cliff of the Two-Dimensional World
VILLA D'ESTE | LOT 113
1970 LANCIA STRATOS HF ZERO
Bertone S.p.A.
€761,600 EUR | Sold
Italy | Cernobbio, Italy
21 May 2011
Chassis No.
Engine No.
C/1160
818540 2126
115 bhp, 1,584 cc narrow angle V-4 engine, two twin-choke Solex C42 DDHF carburettors, five-speed gearbox, independent front suspension with coil springs and vertical McPherson telescopic dampers, independent rear suspension with double-wishbones and telescopic dampers, four-wheel disc brakes. Wheelbase: 2,220 mm (87.4")
- From the Collection of Bertone S.p.A.
- Unveiled at Turin Motor Show (28 October, 1970)
- Fully functioning prototype of a landmark and trendsetting Marcello Gandini design
- First prototype of the Stratos production car and successful rally car
- Fully and professionally restored in 2000
At the turn of the 1970s, the great design rivalry between Bertone and Pininfarina reached an all-time high, with both companies seemingly determined to pull out all the stops to outdo one another. Bertone had perhaps opened the hostilities with the Marzal and with the first “wedge-shaped” supercar concept, the mighty Alfa Romeo Carabo. Italdesign had joined the fray with the Bizzarrini Manta and the Alfa Romeo Iguana. Pininfarina had replied using all its Ferrari firepower with the striking P5, the 512S berlinetta and the Modulo. The latter had caused quite a stir at the Geneva Motor Show in March 1970, yet nothing, not even the outlandish Modulo, could really have prepared visitors of the 1970 Turin Motor Show just a few months later to what they were about to see on the Bertone stand. The car was officially labelled “Stratos HF.” Nuccio Bertone had initially wanted to call it “Stratolimite,” as in “limit of the stratosphere,” clearly inspired by its space-age design. But after some time, it came to be known simply by its internal nickname: Zero.
With the Stratos Zero, Bertone transcended the limits of automotive styling and chiselled a shape that appeared as though it were made of a solid block of metal, evoking speed and the sensation of travel. More remarkable still was the fact that the Zero was not only a design statement but a fully functioning prototype. There was a clear continuity of style and intent between the 1968 Carabo, 1970 Stratos and 1971 Countach prototype. The three projects showed a linear progression in formal research, to the extent that, randomly looking at the preliminary sketches done for each car and omitting the dates, it is difficult to tell which of those three projects they were for. If the Carabo was the radical dream car that broke new ground and the Countach the final step before production, the Stratos was a sculpture on four wheels if ever there was one, a true dream car that married concepts of architecture and pure artistic expression and applied them to the automotive object.
Everything about the Stratos looked futuristic. Its full-width row of ultrathin headlights made for a dramatic front view, echoed at the rear by the minimalist but highly effective combination of mesh grille, ribbon taillights, fat tyres and dual exhaust offset to the side of the protruding gearbox case. The front headlight strip was backlit by ten 55W bulbs at the front, the rear strip by no less than 84 tiny bulbs spread all around the perimeter of the truncated tail. As for turn signals, the same lights simply lit up in succession from the centre to the edges!
According to Eugenio Pagliano, who had joined Bertone’s styling studio a couple years earlier and would become its longstanding Interior Chief Designer, the initial concept behind the Stratos Zero for Bertone’s creative task force was simply to see how low a car they could build! Besides the tongue-in-cheek, slightly provocative aspect of this stated target, it made sense with regard to aerodynamics, where a minimal frontal section is always a prerequisite. It was possibly also a response to Pininfarina’s Modulo. Indeed, where the Modulo had been only 93.5 cm tall, the Stratos peaked at a mere 84 cm (33 inches) from the ground!
According to Pagliano, the Zero was assembled by sourcing from existing Lancia parts. The efficient, no-nonsense mid-ship mechanical layout followed almost effortlessly from that height target, and the diminutive yet spritely 1.6-litre Lancia V-4 engine of the Fulvia HF was chosen for its minimal size as part of that quest for a sleek profile. The chassis was crafted onsite, and the engine was sourced, complete with its own sub-chassis and suspension, from a Fulvia coupé that had been involved in an accident, unbeknownst to Lancia. The double-wishbone with transverse leaf spring arrangement at the rear was simply the Fulvia’s front axle. At the front, the wheel fairings which dominated the narrow cabin were just wide enough to accommodate short McPherson struts. Disc brakes were fitted on all four wheels. A 45-litre fuel tank found space in the right side of the engine bay, and twin fans assisted radiator cooling. The spectacular triangular engine cover incorporated slats shaped to direct air towards the radiator, which was set all the way to the rear.
The cabin was so far up front that access was by way of a flip-up windscreen, and a sourced hydraulic linkage was devised so that, as the steering column was pushed forward to enable access to the driver’s seat, the windscreen would lift. The black rectangle at the bottom of the windscreen was in fact a small rubber mat intended to make climbing in easier by first stepping onto the bodywork. The Lancia badge at the centre of the mat cleverly concealed a pivoting handle that popped the windscreen open.
Certainly the seating position was as horizontal and as close to the ground as it could possibly get. With the two occupants sitting between the front wheels, the car could have hardly been any narrower as well. Once seated, the driver had nothing but the road in front of him and the sky above him, with a futuristic instrument panel offset to the side behind the front wheel-arch. Its graphics, hand-etched in the green Perspex, were certainly futuristic looking but probably difficult to concentrate on at any speed! Headroom was adequate for the average-sized driver, but one felt slightly “compressed” with the fully enveloping windscreen closed.
The steering wheel was made by Italian manufacturer Gallino-Hellebore. Rear-view mirrors sunk inside the side scallops allowed for somewhat limited rear vision. A small overhead mirror was occasionally installed for road tests atop the windscreen! In this extremely tight package, room for a spare wheel and luggage was found right behind the driver. The “chocolate bar” pattern of the seats themselves was carried through to the Lamborghini Countach LP500. The top side-windows slid backwards into the bodywork, while a “pop-up” wiper was concealed underneath a trap door at the base of the windscreen. Overall, the cost of building the Stratos Zero in 1970 was reportedly 40M Lire (equivalent then to $65,000 or roughly $450,000 in 2010 dollars), when a brand new Lancia Fulvia Rally 1.6 HF coupé cost 2.25M Lire.
Despite being a very abstract vision of the automobile, Italian magazine Quattroruote actually took the Stratos prototype on the road back in 1971, driving it from Milan’s beltway to the historic town centre in front of the Duomo, where it caused, as one could only imagine, quite a sensation. The driver must have felt a certain degree of insecurity looking up at scooters as well as all other forms of traffic, dwarfed by trucks and buses passing by…
Nuccio Bertone had personally already driven the car on public roads when he went to meet Lancia’s top brass a few months earlier to discuss a more realistic sports car project which eventually became the Stratos Stradale. On that occasion, it is reported that the car passed underneath the closed entrance barriers at Lancia’s racing team headquarters, which earned it a most positive reception!
It would be a wild exaggeration to say that the Stratos that eventually made it to showrooms bore much resemblance to the original prototype, but without the Zero, the car that would become one of rally racing’s most memorable icons would likely never have been.
Marcello Gandini himself never commented much about the Stratos he had penned. In an interview granted to Giancarlo Perini in 1977, he simply remarked: “The very first Stratos was designed as freely as the [Autobianchi] Runabout and reached the aim for which it was intended: to establish a bridge between Lancia and Bertone. Having established the bridge, Lancia asked us to come up with an idea for a new sports car that would go rallying in the world championships.”
The Stratos Zero was subjected to a full restoration in 2000, conducted entirely in-house at Stile Bertone in Caprie. In the process it regained its original bronze livery, which had made way for a more traditional silver soon after its initial presentation. It is now presented in its full glory, just as it was on 28th October, 1970, the day it was launched upon unsuspecting show-goers.
Current chief designer Michael Robinson cites the Stratos Zero as the car that made him decide to become a car designer whilst he was studying to become an architect. Without doubt, he isn’t the sole top designer in the industry today to have embraced the profession spurred on by a Bertone show piece. In 1987, Renault Design executive Serge Van Hove, who worked with Marcello Gandini for many years, wrote the following in Italian magazine Auto & Design: “What Gandini cares about more than anything else, what makes him unique, is the dreaming.” Match that to Nuccio Bertone’s ability to transform dreams into reality, and you have the unrepeatable Stratos Zero.
This lot is subject to VAT (at 20%) on the full purchase price (both on the hammer price and the commission).
"The design of the pavillon consists of 151 custom laminated lightweight beech plywood segments. In order to combine these ultra-thin plywood strips into a structurally stable configuration, newly developed robotic sewing techniques for prefabrication and manual lacing on site are applied."
further information:
photographed by
Frank Dinger
BECOMING - office for visual communication
"The design of the pavillon consists of 151 custom laminated lightweight beech plywood segments. In order to combine these ultra-thin plywood strips into a structurally stable configuration, newly developed robotic sewing techniques for prefabrication and manual lacing on site are applied."
further information:
photographed by
Frank Dinger
BECOMING - office for visual communication
Logitech has long made a thin keyboard bolt-on case come accessory for the regular iPad, but can the same concept work for the iPad mini? We found out with the latest offering from the mouse and keyboard maker.
View more details visit here tinyurl.com/c5mh47c
Kid's Corner: Tampax, Stay Free Ultra Thin, Barbasol Shaving Cream, Speed Stick Deodorant.
Water Wheel Campground Store - Williamson River, Chiloquin, Oregon
The modern urban culture insists on being "looks-concious" &"ultra-thin" which affects a person's natural pattern of eating n enjoying tastes ...
Urban men and women are more conscious about their physical appearances rather insisting on the natural looks n 'Beauty in SImplicity'. On the exterior, the dining-cycle form depicts, seats of cycle & its parts converted into a dining table ... this automatically distresses people who feel guilty of 'EATING' relating it to the increase of calories n weight. The dining-cycle provides such people the necessary liberty of eating whatever the mind persists ie living life tot he fullest, NATURALLY.
An ironical, tongue in cheek work on today's discernment and outlook, where people are in a pursuit for perfection have forgotten the real meaning of being. The artist conveys this thought in a veiled expression in his installation "I m on a diet". The reflection (in the form of dining cycle) is not only pertinent to the inclination and impulse of being size zero, but in other walks of life as well. "Stop worrying and start living life the fullest", seems to be his foremost concern.
According to the medical science
In a psychiatric illnes called 'Anorexia nervosa', patient shows 'Body-image disturbance'. These patients have intense fear of becoming fat even if they are underweight. This installation is immensely useful for these individuals for encouraging eating without the fear of becoming fat.
This Installation is conceptualized by Kushal Mahant.
1970 Lancia Stratos Zero: A Crazy Concept From the Wedge Era.
At the turn of the 1970s, the great design rivalry between Bertone and Pininfarina reached an all-time high, with both companies seemingly determined to pull out all the stops to outdo one another. Bertone had perhaps opened the hostilities with the Marzal and with the first “wedge-shaped” supercar concept, the mighty Alfa Romeo Carabo. Italdesign had joined the fray with the Bizzarrini Manta and the Alfa Romeo Iguana. Pininfarina had replied using all its Ferrari firepower with the striking P5, the 512S berlinetta and the Modulo. The latter had caused quite a stir at the Geneva Motor Show in March 1970, yet nothing, not even the outlandish Modulo, could really have prepared visitors of the 1970 Turin Motor Show just a few months later to what they were about to see on the Bertone stand. The car was officially labelled “Stratos HF.” Nuccio Bertone had initially wanted to call it “Stratolimite,” as in “limit of the stratosphere,” clearly inspired by its space-age design. But after some time, it came to be known simply by its internal nickname: Zero.
With the Stratos Zero, Bertone transcended the limits of automotive styling and chiseled a shape that appeared as though it were made of a solid block of metal, evoking speed and the sensation of travel. More remarkable still was the fact that the Zero was not only a design statement but a fully functioning prototype. There was a clear continuity of style and intent between the 1968 Carabo, 1970 Stratos and 1971 Countach prototype. The three projects showed a linear progression in formal research, to the extent that, randomly looking at the preliminary sketches done for each car and omitting the dates, it is difficult to tell which of those three projects they were for. If the Carabo was the radical dream car that broke new ground and the Countach the final step before production, the Stratos was a sculpture on four wheels if ever there was one, a true dream car that married concepts of architecture and pure artistic expression and applied them to the automotive object.
Everything about the Stratos looked futuristic. Its full-width row of ultrathin headlights made for a dramatic front view, echoed at the rear by the minimalist but highly effective combination of mesh grille, ribbon taillights, fat tires and dual exhaust offset to the side of the protruding gearbox case. The front headlight strip was backlit by ten 55W bulbs at the front, the rear strip by no less than 84 tiny bulbs spread all around the perimeter of the truncated tail. As for turn signals, the same lights simply lit up in succession from the centre to the edges!
According to Eugenio Pagliano, who had joined Bertone’s styling studio a couple years earlier and would become its longstanding Interior Chief Designer, the initial concept behind the Stratos Zero for Bertone’s creative task force was simply to see how low a car they could build! Besides the tongue-in-cheek, slightly provocative aspect of this stated target, it made sense with regard to aerodynamics, where a minimal frontal section is always a prerequisite. It was possibly also a response to Pininfarina’s Modulo. Indeed, where the Modulo had been only 93.5 cm tall, the Stratos peaked at a mere 84 cm (33 inches) from the ground!
The Zero was assembled by sourcing from existing Lancia parts. The efficient, no-nonsense mid-ship mechanical layout followed almost effortlessly from that height target, and the diminutive yet spritely 1.6-liter Lancia V-4 engine of the Fulvia HF was chosen for its minimal size as part of that quest for a sleek profile. The chassis was crafted onsite, and the engine was sourced, complete with its own sub-chassis and suspension, from a Fulvia coupé that had been involved in an accident, unbeknownst to Lancia. The double-wishbone with transverse leaf spring arrangement at the rear was simply the Fulvia’s front axle. At the front, the wheel fairings which dominated the narrow cabin were just wide enough to accommodate short McPherson struts. Disc brakes were fitted on all four wheels. A 45-liter fuel tank found space in the right side of the engine bay, and twin fans assisted radiator cooling. The spectacular triangular engine cover incorporated slats shaped to direct air towards the radiator, which was set all the way to the rear.
The cabin was so far up front that access was by way of a flip-up windscreen, and a sourced hydraulic linkage was devised so that, as the steering column was pushed forward to enable access to the driver’s seat, the windscreen would lift. The black rectangle at the bottom of the windscreen was in fact a small rubber mat intended to make climbing in easier by first stepping onto the bodywork. The Lancia badge at the centre of the mat cleverly concealed a pivoting handle that popped the windscreen open.
Certainly the seating position was as horizontal and as close to the ground as it could possibly get. With the two occupants sitting between the front wheels, the car could have hardly been any narrower as well. Once seated, the driver had nothing but the road in front of him and the sky above him, with a futuristic instrument panel offset to the side behind the front wheel-arch. Its graphics, hand-etched in the green Perspex, were certainly futuristic looking but probably difficult to concentrate on at any speed! Headroom was adequate for the average-sized driver, but one felt slightly “compressed” with the fully enveloping windscreen closed.
The steering wheel was made by Italian manufacturer Gallino-Hellebore. Rear-view mirrors sunk inside the side scallops allowed for somewhat limited rear vision. A small overhead mirror was occasionally installed for road tests atop the windscreen! In this extremely tight package, room for a spare wheel and luggage was found right behind the driver. The “chocolate bar” pattern of the seats themselves was carried through to the Lamborghini Countach LP500. The top side-windows slid backwards into the bodywork, while a “pop-up” wiper was concealed underneath a trap door at the base of the windscreen. Overall, the cost of building the Stratos Zero in 1970 was reportedly 40M Lire (equivalent then to $65,000 or roughly $450,000 in 2010 dollars), when a brand new Lancia Fulvia Rally 1.6 HF coupé cost 2.25M Lire.
Despite being a very abstract vision of the automobile, Italian magazine Quattroruote actually took the Stratos prototype on the road back in 1971, driving it from Milan’s beltway to the historic town centre in front of the Duomo, where it caused, as one could only imagine, quite a sensation. The driver must have felt a certain degree of insecurity looking up at scooters as well as all other forms of traffic, dwarfed by trucks and buses passing by…
Nuccio Bertone had personally already driven the car on public roads when he went to meet Lancia’s top brass a few months earlier to discuss a more realistic sports car project which eventually became the Stratos Stradale. On that occasion, it is reported that the car passed underneath the closed entrance barriers at Lancia’s racing team headquarters, which earned it a most positive reception!
“One morning late in February 1971, Ugo Gobbato, the then chairman of Lancia, telephoned me,” Bertone recalled years later.
Gobbato wanted to see the car – and that very afternoon Bertone drove it personally to Via San Paolo, headquarters of the Lancia works racing team. “I drove up to the main gate, where an astonished Lancia gatekeeper stared motionlessly at that strange object which was so low it could pass beneath his barrier. Meanwhile the rumble of the engine [at that time a Fulvia V4] had brought all the Lancia racing team people who were waiting for us out into the yard. Then the gatekeeper raised the bar. It was an unforgettable entrance. In the middle of the crowd I switched off the engine and climbed out of my ‘spaceship’.” Bertone was rapidly signed up to build a practical rally prototype.
"The design of the pavillon consists of 151 custom laminated lightweight beech plywood segments. In order to combine these ultra-thin plywood strips into a structurally stable configuration, newly developed robotic sewing techniques for prefabrication and manual lacing on site are applied."
further information:
photographed by
Frank Dinger
BECOMING - office for visual communication
Installation
Fitting to Motorcycles
When fitting to bikes, do it in 3 separate steps
(1) Remove the headlight unit and do the fiddling around with the burners that way. Trying to fit the new burners without removing the headlight unit is a recipe for frustration swearing and skinned knuckles – and therefore misery. You will also need a 23-25 mm (1 inch) drill bit (you need to make a circular hole on the back of the headlight units two round caps.)
(2) Find where you want to locate the ballasts, and mount them – make sure they are close enough to the headlights for the cables to reach – it’s near impossible to extend them Others have chosen different locations. There is no best answer. But do note that if you mount under the oil cooler on a GS or GSA, the forks “move forward” under compression, so the ballasts cannot project further back than that rear edge of the oil cooler. Some end up getting custom brackets made up for the ballasts, while my preferred option now that we have moved exclusively on to ultra-thin ballasts, is just to mount them with 3M VHB (Very High Bond) double sided tape or 3M VHB Dual Lock industrial Velcro or a small bracket that comes with the kits or cable ties. Everyone seems to find different locations to mount the ballasts and many ways to hold them in place. You have to be creative with motorbikes re ballasts mounting. There is always room though.
(3) Connect everything up. And power up !
Note that sometimes the kits come with slightly different wires that are nominated in the installation booklets. The booklets refer to red being positive and black negative. Usually that’s the case with the kits but occasionally I get kits with blue and black wires. In those examples, the black wire remains negative, and the blue wire is positive.
Here it is again in a bit more detail:
HID Conversion Kit Installation, for BMW motorcycles.
1. Remove Headlight unit from motorcycle, ensuring motorcycle is switched off. No need to remove battery.
2. Unscrew the plastic caps at the back of the housing that provide access to the bulbs.
3. In the centre of the two plastic caps that were removed earlier, drill a 23-25 mm (1 inch) hole (with a hole saw bit or a flat wood bit).
4. Unlatch the bulb retaining spring clip, and remove the old halogen bulbs. The plastic that holds the spring clips is brittle and prone to break. Be careful.
5. Pass the bulb and two wires with open spade connectors through the newly drilled out hole in each plastic cap until the rubber grommet is seated in the newly drilled hole.
6. Insert new HID bulbs, ensuring they are correctly aligned. Note that the 4 wires will slide back and forwards through the grommet. I advise that when you are fiddling around getting the bulb in, that you pull as much wire to the bulb side of the grommet as possible to avoid skinned knuckles and excess frustration. When seating the new bulbs, the H1 is hard to get wrong, but the H7 is easily gotten wrong. Make sure the bulbs are correctly seated before closing the bulb retaining spring clip, again taking care not to damage the poorly made housing around the base of the spring clip.
7. Connect the spade connectors up to the motorcycle’s headlight power. (see 8 and 9 below for H7 and H1 respectively)
8. The spade connectors attach to the contact block that previously plugged into the back of the bulb. On a H7 kit, the brown BMW wire (negative) needs to lead to the black spade connector wire (negative). And the white or yellow BMW wire (positive) needs to connect to the blue or red spade connector wire (positive).
9. On a H1 kit, the BMW earth is plugged to the headlight housing and needs to be removed before connecting to the black spade connector. They may need to be crimped together with a pair of pliers if they are different shapes. The wire that connected to the H1 bulb is the positive and needs to be connected to the blue or red wire’s spade connector.
10. Plug the wires that come from the bulb into ballasts with the “its impossible to plug in the wrong way” connectors and check the HIDs have been wired up correctly by turning the appropriate lights on. Note both ballasts in the kit are identical, so you do not need to pair a particular ballast with a particular bulb.
11. Close up the headlight unit by screwing back in the plastic caps. Note that the 4 wires will slide back and forwards through the grommet. It is advisable to pull out excess wire from the headlight housing as you close the unit, to avoid having too much crowded wiring inside the cramped headlight housing. Similarly, I advise that when you are fiddling around getting the bulb in, that you pull as much wire to the bulb side of the grommet as possible to avoid skinned knuckles and excess frustration.
12. Next stage … mounting the ballasts. It’s really up to each individual to mount ballasts and a number of different brackets and locations are possible. Make sure the ballasts are mounted so that their cables can comfortably reach the appropriate bulbs. The ultrathin kits are can be screwed or the supplied brackets or cable ties used or otherwise attached to a flat clean surface. Increasingly, my mounting of choice is to use 3M double sided tape or Dual Lock industrial Velcro or cable ties unless they come with small brackets that can be bolted on to a inside fairing etc. See below for more info on industrial Velcro, and note the first 3 pictures have Ultra Thin HID ballasts attached with Dual Lock industrial Velcro or a bracket and cable ties.
Note: BMW’s have unique wire colors.
White wire : high beam positive
Yellow wire : low beam positive
Brown wires : earth (negative)
Ballast location examples
In the photo above, the two headlight ballasts are attached to the top of the headlight unit using nothing but small patches of Dual Lock with the picture on the right and bottom having the ballast units on a custom bracket. On most bikes ‘more on a GS’ there is space either side of the front forks and cable tying the ballasts in is my preferred method.
Fitting
If you don’t fancy fitting your own HID set, we can fit your HIDs to your headlights.
Note that we do not claim to be legal experts and can give no advice as to the legality of operating any HID conversion (55 watt) or any other lighting modification due to the widely varying road regulations in different regions and countries. Anyone who does claim to be able to give you any definitive answer is talking through his/her hat. As with any aftermarket accessory, its up to the buyer to
Note: Some headlight reflectors designed for halogen bulbs do not react well to the HID light and occasionally after prolonged use, some marking of the reflectors may occur. Fitment of HID conversions and any associated after-effects are solely the responsibility of the buyer.
If you have any questions please email info@motorbikeadventures.co.uk
Have a look at our website we specialize in heated clothing and Motorbike Intercoms.
An ultrathin Ag film based OLED inside Professor Jay Guo’s lab at 3537 G.G. Brown on North Campus in Ann Arbor MI on May 5, 2021.
Guo’s group is systematically improving the light power distribution in OLEDs by removing the waveguide mode and optimizing the organic stacks and the ultrathin AG anode. This simple yet effective method leads to significantly enhanced performance of the external quantum efficiency of the OLED.
Guo’s solution is not only simple in process but also can achieve high throughput and low cost with excellent compatibility with the large-scale manufacturing process in the display industry. In principle, the modal elimination approach introduced in this work could be extended to other solid-state light emitting diodes (LEDs) such as perovskites, quantum-dots, or III-V based LEDs since all of which are susceptible to the issue of light trapping as waveguide mode.
Photo: Robert Coelius/University of Michigan Engineering, Communications & Marketing
仕事用のデバイスとして new iPad の 3G モデルを使い始めた。
初代 iPad をしばらく仕事で使った時の経験から、キーボード入力がないことには、仕事では使えないことがわかっていたので、なにか良い手段がないかと物色していたところ、ちょうど 6/29 に Logicool Ultrathin Keyboard Cover TK710 が発売されるというニュースがあった。
www.logicool.co.jp/ja-jp/tablet-accessories/keyboards/ult...
6月上旬のアメリカ出張の際に、まったく同じ Logicool 製ではないけれどキーボードケースを iPad と組み合わせて使っている人を何名か見かけて、ちょっと気になっていた。
Amazon.co.jp で予約注文しておいたのだが、6/29 当日、移動の間にすこし時間ができたので、有楽町のビックカメラに寄ったところ、実物がおいてあった。Amazon 側を確認すると予約分が未発送だったので、その場でキャンセルして、ビックカメラで買うことにした。
サイズは B5 ノート PC と同じかすこし小さいぐらい。手指の大きなワタクシでもそんなに窮屈な感じはない。キータッチは MacBook のような最近良く見かけるカチャカチャしたタッチ。
セットアップは Bluetooth を認識させるだけなのであっという間に使い始められた。日本語入力は MacOS 同様、Cmd + スペースキーで英語 - 日本語切り替えができるので、あまりストレスがない（ワタクシは仕事用 Windows でも同じようなトグル設定をおこなっている）。
使い勝手的にどうかと思うのは、Esc キーの位置に iPad 本体のホームボタンと同じ機能のボタンがある点。これは、文字入力をキャンセルするような時につい Esc キーを押す勢いでホームボタンを押してしまい、結果としてホーム画面に戻ってしまってションボリすることになる。
あと、日本語入力時に推測変換が働くのは良いのだが、変換ウインドウをキャンセルしてカーソル位置を移動させる、という処理を、キーボード操作だけでできないのもいささか面倒である。これらはいずれもなにかしら回避策があればありがたいのだが……
とりあえずはほとんど満足なので、あとは日本語入力で ATOK が全面的に使えるようになれば、完璧といってよいのだが、難しいかな。
A mineral is a naturally-occurring, solid, inorganic, crystalline substance having a fairly definite chemical composition and having fairly definite physical properties. At its simplest, a mineral is a naturally-occurring solid chemical. Currently, there are over 5700 named and described minerals - about 200 of them are common and about 20 of them are very common. Mineral classification is based on anion chemistry. Major categories of minerals are: elements, sulfides, oxides, halides, carbonates, sulfates, phosphates, and silicates.
The silicates are the most abundant and chemically complex group of minerals. All silicates have silica as the basis for their chemistry. "Silica" refers to SiO2 chemistry. The fundamental molecular unit of silica is one small silicon atom surrounded by four large oxygen atoms in the shape of a triangular pyramid - this is the silica tetrahedron - SiO4. Each oxygen atom is shared by two silicon atoms, so only half of the four oxygens "belong" to each silicon. The resulting formula for silica is thus SiO2, not SiO4.
Biotite mica is a common phyllosilicate with the formula K(Mg,Fe)3(AlSi3O10)(OH)2 - potassium magnesium iron hydroxy-aluminosilicate. It has a nonmetallic luster, a hardness of about 2 to 3, forms hexagonal crystals, and has one perfect cleavage. Biotite mica can be peeled into ultrathin sheets, which is a consequence of its cleavage. Thin cleavage sheets are noticeably flexible (elastic). Thicker pieces of biotite are black-colored. Thin sheets are brownish-black to dark brown to brown.
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Photo gallery of biotite mica:
"The design of the pavillon consists of 151 custom laminated lightweight beech plywood segments. In order to combine these ultra-thin plywood strips into a structurally stable configuration, newly developed robotic sewing techniques for prefabrication and manual lacing on site are applied."
further information:
photographed by
Frank Dinger
BECOMING - office for visual communication
The purpose of this project is to reconstruct existing shoulders, construct bridge modifications, install ITS (Intelligent Transportation System) equipment, perform hydrodemolition on existing bridge deck, place ultrathin bonded wearing course, and install guardrail on 1.832 miles of I-430 in Pulaski County.
DISTINCTION FOR CATEGORY 3
Copyright: CC-BY-NC-ND: Michael Lyrenmann
Description of the author:
A view on to two worlds, standing inside the frame of one of the truck sized sliding doors at the Robotic Fabrication Lab (RFL), ETH Zurich. This image was taken during the documentation of the HiLo project, done by the Block Research Group. The RFL with its ceiling mount robots acts as tool and place for research in digital fabrication in the field of architecture. Some refer to the facility as one of the largest 3D printer in the world.
On one side, the calm, crisp summer night. On the other side, a dusty, brightly lit technical research environment. With this image I tried to capture the thin line between working on architectural scale research projects, with sometimes huge gaps to construction reality, even with the real world this close. The 20-ton structure appears light inside the spacious volume of the lab. Borders between the inside, the outside… structure, ceiling and technology fade. Picture taken with a Nikon D750, 14mm, F2.8, 1/125, ISO 800.
Comment of the Jury:
A distinction in this category goes to the image of the development of a curved, ultrathin concrete roof. The image features a strong contrast between indoors and outdoors, between day and night, between twilight and laboratory lighting. The structure itself should actually be outdoors, but it’s indoors, in the hall. The structure weighs 20 tonnes and yet seems light. “A marvellously constructed photo”, wrote the Jury.
Kommentar der Jury:
Eine Auszeichnung in dieser Kategorie gewinnt das Bild über die Entwicklung eines ultradünnen, geschwungenen Betondachs. Ein starker Kontrast zwischen innen und aussen, zwischen Tag und Nacht, Dämmerung und Laborlicht. Auch die Konstruktion sollte eigentlich draussen sein, steht aber in der Halle. Eine 20-tonnenschwere und doch leicht anmutende Konstruktion. «Ein wunderbar konstruiertes Foto», schreibt die Jury.
Commentaire du jury:
La photo du développement d’un toit en béton ultrafin galbé a remporté une mention dans cette catégorie. Un contraste puissant entre l’intérieur et l’extérieur, le jour et la nuit, le crépuscule et la lumière du laboratoire. La construction devrait en fait être à l’extérieur mais se trouve dans la halle. Une construction de 20 tonnes qui dégage pourtant une impression de légèreté. « Une photo merveilleusement réalisée », note le jury.
Microsoft Surface Book 2 in 1 Tablet - Laptop 13.5 inch touchscreen 3000x2000 QHD Digitizer Pen Windows 10 Pro (i7-6500U 16G 512G NVIDIA GeForce dGPU Wilress Display, SD)
Microsoft Surface Book 2 in 1 Tablet - Laptop comes with Microsoft Windows 10 Pro operating system Intel 6th Generation Core i7-6500U 16GB LPDDR3 512GB Nvidia GeForce dGPU.
Microsoft Surface Book Convertible 2-in-1 Laptop: This ultrathin, high-performance Laptop is equipped with amazing 3000 x 2000 screen resolution & the versatility of a Tablet.
13.5 inch PixelSense display: 3000 x 2000 resolution for ultrarealistic detail, PixelSense technology, 267 ppi.
6th Gen Intel Core i7-6500U mobile processor: Ultra-low-voltage platform. Dual-Core, four-way processing, high-efficiency power to go. Intel Turbo Boost Technology offers dynamic extra power when you need it.
16GB system memory for advanced multitasking: Substantial high and width RAM to smoothly run your games, picture, video-editing apps, multiple programs and browser tabs all at once.
512GB solid state drive (SSD): a flash-based has no moving mechanical parts, resulting in faster start-up times and data access, no noise, reduced heat production and power draw on the battery.
NVIDIA GeForce GPU To fast render high-quality images for videos and games.
Extremely mobile at 3.48 pounds and measures 0.9 inch thin: Ultraportable design, offering a smaller screen size. 2-cell and 4-cell lithium-polymer batteries.
Bluetooth interface syncs with compatible devices: Wirelessly transfer photos, music and other media between the laptop and your Bluetooth-enabled cell phone or MP3 player, or Bluetooth wireless accessories.
2 USB 3.0 Type A ports max the latest high-speed devices: USB 3.0 backward-compatible with USB 2.0 at 2.0 speeds.
Built-in media reader for easy photo transfer: UHS-II SDXC memory card. Next-generation WiFi: Connect to a Wireless-AC router nearly 3x faster than Wireless-N.
5 MP front-facing and 8 MP rear-facing cameras with autofocus & dual digital microphones: simple to video chat with family and friends or teleconference.
Technical Details
Brand Name: Microsoft
Item model number: Surface Book
Style: i7-6500U 16GB 512GB dGPU
Product Packaging: Wilress Display, SD
Screen Size: 13.5 inch
Display: 13.5-inch PixelSense touchscreen display (3000 x 2000) resolution n-trig digtizer screen with Surface pen stylus.
Screen Resolution: 3000 x 2000
Max Screen Resolution: 3000 x 2000
Operating System: Microsoft Windows 10 Pro
CPU: Intel 6th Generation Core i7-6500U
RAM: 16 GB
Hard Drive (Manufacturer): 512GB solid state drive (SSD)
Network Connection: Wi-Fi, Bluetooth 4.0
Wireless Type: 802.11 a/b/g/n
3.5 mm Jack for headphone and Microphone
Mini Display Port: Yes
USB 3.0 Ports: 2
Intel HD Graphics 520
Nvidia GeForce dGPU
Stereo speakers: Offer lush audio
5MP/8MP Webcams
SurfaceConnector dock & power
5.0MP front-facing & 8.0MP rear-facing cameras with autofocus
Dual Digital Microphones
Product Dimensions (L x W x H): 12.3 x 9.14 x 0.9 inches
Rated Charge (normal use): 10 hours
Item Weight: 3.5 pounds (1576 grams)
Shipping Weight: 16 pounds (View shipping rates and policies)
Date first available at Amazon.com: November 3, 2015
Warranty and Support
Warranty, Parts: 1 Year Limited
Warranty, Labor: 1 Year Limited
Amazon.com Return Policy: You may return any new computer purchased from Amazon.com that is "dead on arrival," arrives in damaged condition, or is still in unopened boxes, for a full refund within 30 days of purchase. Amazon.com reserves the right to test "dead on arrival" returns and impose a customer fee equal to 15 percent of the product sales price if the customer misrepresents the condition of the product. Any returned computer that is damaged through customer misuse, is missing parts, or is in unsellable condition due to customer tampering will result in the customer being charged a higher restocking fee based on the condition of the product. Amazon.com will not accept returns of any desktop or notebook computer more than 30 days after you receive the shipment. New, used, and refurbished products purchased from Marketplace vendors are subject to the returns policy of the individual vendor.
Compare Prices Microsoft Surface Book 2 in 1 Tablet - Laptop 13.5 inch touchscreen 3000x2000 QHD Digitizer Pen Windows 10 Pro (i7-6500U 16G 512G NVIDIA GeForce dGPU Wilress Display, SD)
Read More Customer Reviews Microsoft Surface Book 2 in 1 Tablet - Laptop 13.5 inch touchscreen 3000x2000 QHD Digitizer Pen Windows 10 Pro (i7-6500U 16G 512G NVIDIA GeForce dGPU Wilress Display, SD) reviews-tablet.com/microsoft-surface-book-2-1-tablet-laptop/
nano Diamond Coated Silicon Combining Chemical Etching and Laser Ablation. Close up view of one ultra thin diamond window.
iPod touch 5th Generation features a 6-mm ultra thin design and brilliant, 4-inch Retina display. The 5-megapixel iSight camera lets you take stunning photos, even in panorama, or record 1080p video. Discover music, movies, and more from the iTunes Store, or browse apps and games from the App Store. And with iOS 6—the world’s most advanced mobile operating system—you get Siri, iMessage, Facebook integration, FaceTime, Game Center, and more.
Features
* Ultrathin design available in five gorgeous colors
* 4-inch Retina display
* Apple A5 chip
* 5-megapixel iSight camera with 1080p HD video recording
* FaceTime camera with 1.2-megapixel photos and 720p HD video recording
* iOS 6 with features like Siri, Passbook, and Facebook integration
* iTunes Store with millions of songs, and thousands of movies and TV shows
* App Store with more than 700,000 apps, including over 100,000 games1
* Game Center with millions of gamers
* Free text messaging over Wi-Fi with iMessage
* Rich HTML email and Safari web browser
* AirPlay and AirPlay Mirroring
* 40 hours of music playback, 8 hours of video playback2
iPod touch loop included
* Apple EarPods
If you are looking to buy Cheap iPod touch 32GB White (5th Generation), you come to the right place. You can get the low price iPod touch 32GB White (5th Generation).
Price: $299 on Sep 15, 2012.
Designer Armor Slide Card Holder Phone Case for Samsung Galaxy S9, S8,S7&S6 - bit.ly/2kDDT6N
Colorful Pattern Silicon TPU Phone Cases for Xiaomi,Redmi 6 Pro ,6A,Note7 , 5, Mi 8 ,9T Pro- bit.ly/2kDNHO6
Soft & Flexible Transparent Ultrathin Clear Back Cover for iPhone -https://bit.ly/2k54fyl
liquid glitter soft TPU phone case for Huawei - bit.ly/2k8qWSo
printed soft silicone phone back case for Xiaomi Redmi 5 - bit.ly/2m2zo69
Woodwork Artist To Illustration:
MacKinnon(?)
Gruen's come in Verithins, Very-Verithins, and Ultrathins!
Ad is Restored and Owned by Tortuga 2010
A mineral is a naturally-occurring, solid, inorganic, crystalline substance having a fairly definite chemical composition and having fairly definite physical properties. At its simplest, a mineral is a naturally-occurring solid chemical. Currently, there are over 5600 named and described minerals - about 200 of them are common and about 20 of them are very common. Mineral classification is based on anion chemistry. Major categories of minerals are: elements, sulfides, oxides, halides, carbonates, sulfates, phosphates, and silicates.
The silicates are the most abundant and chemically complex group of minerals. All silicates have silica as the basis for their chemistry. "Silica" refers to SiO2 chemistry. The fundamental molecular unit of silica is one small silicon atom surrounded by four large oxygen atoms in the shape of a triangular pyramid - this is the silica tetrahedron - SiO4. Each oxygen atom is shared by two silicon atoms, so only half of the four oxygens "belong" to each silicon. The resulting formula for silica is thus SiO2, not SiO4.
Muscovite mica is a common phyllosilicate with the formula KAl2(AlSi3O10)(OH)2 - potassium hydroxy-aluminosilicate. It has a nonmetallic luster, a hardness of about 2, forms hexagonal crystals, and has one perfect cleavage. Muscovite mica can be peeled into ultrathin sheets, which is a consequence of its cleavage. Thin cleavage sheets are noticeably flexible (elastic). Thicker pieces of muscovite are grayish-colored. Thin sheets are clear/colorless.
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Photo gallery of muscovite mica: