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precipitates in a superalloy
Courtesy of Sabine LE ROUX
Image Details
Instrument used: Nova NanoSEM Family
Magnification: 2,000x
Horizontal Field Width: 63 μm
Vacuum: HV
Voltage: 15 kV
Spot: 4.0
Working Distance: 4.5
Detector: SE
Project: UAS CHARACTERIZATION OF HIGH WIND DAMAGE TO VEGETATION AND RURAL AREA ASSESSMENTS
With the help of the NOAA Oceanic and Atmospheric Research (OAR) Uncrewed Systems Research Transition Office (USRTO), scientists from the NOAA National Severe Storms Laboratory in collaboration with the Cooperative Institute for Mesoscale Meteorological Studies are working on developing an uncrewed aircraft system (UAS)-based approach to better characterize high-wind damage to vegetation and in rural areas to improve disaster response and recovery.
Photo Credit: NOAA
Portrait of Sanford Robinson Gifford
by Eastman Johnson
Johnson's sensitive portrayal of the landscape painter Gifford, his friend and neighbor in the Tenth Street Studio Building, formerly in lower Manhattan, was executed in the year of Gifford's death. Originally owned by Gifford's widow, it was bequeathed to Richard Butler, one of Gifford's most avid patrons, who instantly donated it to the Metropolitan Museum. Both men were founders of the Museum, which in 1881 accorded Gifford the first monographic show ever mounted by the institution. Johnson's warm, ruminative characterization of the artist may well be posthumous; the quiet self-possessed stare yet faintly melancholic repose of the sitter's visage are further complicated by the strong ambiguity of light and dark dividing it, seeming to illustrate emotional conflicts perceived by another of his close friends and revealed in a eulogy to the artist: "His character ... was serene and placid, resting on resources within himself. That placidity of the surface was an indication of the depth of the stream that flowed within, whose floods, and swirls, and eddies often caught him from the light and carried him into cavernous depths of shade."
The Savannah River Site is using Recovery Act funds to remediate C Area, home to one of five former nuclear reactors at the site.
Project: UAS CHARACTERIZATION OF HIGH WIND DAMAGE TO VEGETATION AND RURAL AREA ASSESSMENTS
With the help of the NOAA Oceanic and Atmospheric Research (OAR) Uncrewed Systems Research Transition Office (USRTO), scientists from the NOAA National Severe Storms Laboratory in collaboration with the Cooperative Institute for Mesoscale Meteorological Studies are working on developing an uncrewed aircraft system (UAS)-based approach to better characterize high-wind damage to vegetation and in rural areas to improve disaster response and recovery.
Photo Credit: Tyler Bell/CIMMS/NSSL
August 14, 2019 - NREL researchers and EHS Safety experts discuss testing parameters and procedure for a 10kW Power Take-Off (PTO) system designed for a wave energy converter on the 2.5 MW dynamometer at NREL's Flatirons Campus. A specially designed gearbox using the MMR (Mechancial Motion Rectifier) mechanism of is capable of rectifying the bi-direction input into uni-direction to drive the generator. Researchers are performing a system characterization test to determine the dynamic performance of the PTO and identify some unknown parameters. (Photo by Dennis Schroeder / NREL)
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The RPA elite is the most advanced rotor-less rotational shear rheometer dedicated to the complete characterization of polymers, rubber and rubber compounds at all stages of manufacture. The RPA elite provides invaluable viscoelastic data on materials that are uncured, through the curing process, and in situ cured materials. The ultra-rigid test frame, high-resolution variable direct drive motor, ultra-stiff wide-range torque transducer, and precision temperature control provide the most precise and accurate torque, viscosity and viscoelastic properties of elastomers over the widest ranges of testing conditions. The full flexible architecture of the RPA elite enables advanced testing capabilities beyond any other rubber rheometer including: complete post cure viscoelastic characterization, fully programmable sealing pressure, large amplitude oscillatory shear (LAOS) and arbitrary waveform deformations.
solar cell characterization
Customer - Soldaduras Avanzadas - Spain
Quinta Ingenieria develop custom tester equipment in automatic, semiautomatic and manual mode, including electrical testing, computer vision, measurement of torque, angle, size, etc. ...
We have developed test equipment and quality control (hardware and software) for automotive, solar and electronics in general
Frankenstein (Universal, 1931).
youtu.be/1qNeGSJaQ9Q It’s Alive !!!
Universal Studios made themselves famous for "horror" films in the 1930s. Following the success of their Dracula, starring Bela Lugosi, Universal put out a variation on Mary Shelley's story that would become hugely influential for decades. Universal's Frankenstein. Much has already been written about this film, so this review will not attempt to cover everything. James Whale's Frankenstein was a hybrid -- partly a horror movie, but also partly a sci-fi movie. The goal of FrankenFEST is to explore the science fiction aspects of the many Frankenstein films. Some have more "science". Some are more "horror". Some are just silly.
Synopsis
Henry Frankenstein and his hunchback assistant Fritz dig up a recently buried body and take down a hanged man. Henry still needs an undamaged brain, so Fritz sneaks into a medical college to steal one. He drops the first brain-in-a-jar, so takes the second, labeled "abnormal brain." Henry has his creature assembled on a table and awaits the storm's peak for the jolt to infuse life. Just then, his fiancee, Elizabeth, friend Victor and former teacher, Professor Waldman, come knocking at the door of Henry's spooky tower. Reluctantly, he lets them in. Baited by Victor's accusation that Henry is crazy, Henry shows them his experiment. The storm peaks and the creature moves. "It's Alive!" Waldman stays to help. Victor and Elizabeth express worry to Henry's dad, Baron Frankenstein. Meanwhile, Henry shows off his creature to Waldman. It needs time to mature. However, Fritz taunts it with fire, sending the creature into a rage. It murders Fritz. It beats up Henry before Waldman injects it with anesthetic. Victor, Elizabeth and the Baron arrive and take the sick and battered Henry back to the village. Waldman stays to get rid of the monster. Before he can, the anesthetic wears off. The monster kills Waldman and escapes. In the village, all is festive, music and dancing for the wedding. Elizabeth is troubled with premonitions of doom. The monster comes across a little girl who wants a playmate. She tosses flowers in the lake to watch them float. When she's out of flowers, the monster tosses her in to float. She doesn't. The monster is upset and flees. He goes into the village and sneaks into Elizabeth's bedroom. Before he can do anything, her screams bring everyone running. He escapes unseen. Maria's father brings her dead body into town. The Burgomeister organizes three search parties to find the killer. Henry leads the mountain group. The monster finds Henry alone, knocks him out and carries him away. The mob see this and purse them to a windmill. The monster throws Henry from the upper railing, but he catches on a windmill blade, so doesn't die. The mob burn down the windmill. Henry recovers with Elizabeth's doting. The baron makes a toast to a future "son of Frankenstein." The End
The "science" in Whale's Frankenstein is mostly medical or biological. Waldman describes Henry's work as being in "chemical galvanism" and "electro-biology." Henry himself describes the key being "rays" beyond violet in the spectrum. This "Life Ray" is apparently available in electricity. Much of Henry's lab is filled with large things that spark or arc. Electricity is, in this pre-atomic world, the magical stuff that can do wonders. Compare Henry's lab and creation with Rotwang's in Metropolis ('27). The motif of the mad scientist's lab being stocked with sparky things dates back to this era.
Compared to the Novel
The main characters are retained, although the names of Henry and Victor are swapped, for some reason. Universal's screenplay was more of an adaptation of a stage play written by Peggy Webling in 1927. Her successful play had to do something similar to Edison's screenplay, in paring the story down to some basic elements. Whale's film focused more on the hubris of unfettered "science" than on the philosophical elements of creator-creature obligations. The hubris of the "mad" scientist, as a plot trope, would endure many decades into future films.
Iconic Monster -- The famous monster was a combination of make-up specialist Jack Pierce (who created the flat-top head and bolts on the neck) and the characterization given by actor Boris Karloff. Their "monster" was too captivating to the public imagination, too iconic to ever really die -- as we shall see -- that he would reappear in many later films. Little children would dress up as the monster for halloween. Parodies and spin-offs would key off the Pierce-Karloff monster.
Much of the look of the film stems from the artistic style of German Expressionism. This style is a whole topic unto itself. The stark light and dark, the use of up-lighting, the asymmetry and odd angles all enhance the feeling of instability. Nothing is soft. Nothing is "quite right." Contrast Henry's tower with the village sets. They're all normal enough, and almost Disney quaint. The normal world vs. HIS world: dark, unstable and "off". The artistic style of German Expressionism would not remain popular beyond WWII, but its visuals in association with the mad scientist's lab would endure far beyond.
Far back into the 1800s, probably not long after Shelley penned her story, people would often confuse the monster and the man. The monster, in both the novel and the 1931 movie, had no name. He was, like the novel, called only, "my creation", "the monster" or "the fiend." It was Henry who carried the family name of Frankenstein. Yet, to the public imagination, such a strong character as the monster simply could not go nameless. He was often referred to as "Frankenstein" as if that were his name. That's not the case, but it has been a common enough mistake that it has stuck. The monster is more famous than the man.The more famous character gets the name. After all, children do not dress up as Henry (or Victor) Frankenstein.
Aside from the many Expressionist visuals, there is one scene which, though brief, is an interesting inclusion of a famous painting. When the monster accosts Elizabeth in her room, just as he sneaks out, and the others burst in, note Elizabeth's position on the bed. This very brief moment is also captured on the poster art.This seems an unmistakeable visual reference to Henry Fuseli's famous 1791 painting: "Nightmare" .Maybe this something that only art history majors might enjoy, but it was an interesting bit for Whale to include.
A curious note, is how much Frankenstein as a story had become intertwined with the classic vampire story: Dracula. For one, Universal released them both in 1931. Beyond proximity, Universal had originally cast Bela Lugosi as the monster, but he declined the part. Lugosi would, however, end up playing the monster in a few later iterations. As well, Webling's play, which served as source material, also followed a successful Dracula production by the same star. The two characters sprang from very different literary roots and told very different cautionary tales, yet, they would become paired in the popular imagination, as if they were somehow brothers.
Universal's 1931 Frankenstein is a movie classic that is not to be missed. It is a well-told and well-paced story, but more importunely, it is foundational to almost all the Frankenstein films to come.
The U.S. Army Corps of Engineers, Savannah District has an in-house Geotechnical and HTRW (Hazardous, toxic and radioactive waste) team with full serivce capabilities. Savannah's team has the most diverse fleet of investigative vehicles and equipment throughout the Corps of Engineers. The fleet includes geoprobes and drilling rigs, which can investigate a wide range of eathen materials, including soils and rock. Using this equipment, the team performs a variety of subsurface investigations, including well installation, determination of soil characteristics, contaminant characterization, aquifer testing, rock coring, and much more.
On July 17, Castroneves joined U of T Engineering to unveil the Ontario Centre for Characterization of Advanced Materials (OCCAM) – a high-tech facility that enables researchers to explore and develop novel materials that could be used in electronics, renewable fuels, construction, disease treatment and even futuristic racecar design.
Photo by Roberta Baker – Engineering Strategic Communications
Professor Millunchick's general research involves manipulating matter on the nanoscale. More recently, she has developed an augmented reality app that will allow users to better understand and change the characterization in crystal properties.
Photo by Robert Coelius
Alumni Engagement
Project: UAS CHARACTERIZATION OF HIGH WIND DAMAGE TO VEGETATION AND RURAL AREA ASSESSMENTS
With the help of the NOAA Oceanic and Atmospheric Research (OAR) Uncrewed Systems Research Transition Office (USRTO), scientists from the NOAA National Severe Storms Laboratory in collaboration with the Cooperative Institute for Mesoscale Meteorological Studies are working on developing an uncrewed aircraft system (UAS)-based approach to better characterize high-wind damage to vegetation and in rural areas to improve disaster response and recovery.
Photo Credit: NOAA
SHOWN IS THE MOLECULAR FOUNDRY COMPUTER CLUSTER.
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For more information or additional images, please contact 202-586-5251.
August 14, 2019 - NREL researcher Scott Carpenter and Virginia Tech researcher Xiaofan Li test a 10kW Power Take-Off (PTO) system designed for a wave energy converter on the 2.5 MW dynamometer at NREL's Flatirons Campus. A specially designed gearbox using an MMR (Mechancial Motion Rectifier) mechanism is capable of rectifying the bi-direction input into uni-direction to drive the generator. The researchers are performing a system characterization test to determine the dynamic performance of the PTO and identify some unknown parameters. (Photo by Dennis Schroeder / NREL) 59099.jpg
August 14, 2019 - NREL researchers and EHS Safety experts discuss testing parameters and procedure for a 10kW Power Take-Off (PTO) system designed for a wave energy converter on the 2.5 MW dynamometer at NREL's Flatirons Campus. A specially designed gearbox using the MMR (Mechancial Motion Rectifier) mechanism of is capable of rectifying the bi-direction input into uni-direction to drive the generator. Researchers are performing a system characterization test to determine the dynamic performance of the PTO and identify some unknown parameters. (Photo by Dennis Schroeder / NREL)
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Argonne scientist Nancy Dietz Rago analyzes results in the Battery Post-Test Facility (BPTF). After a battery sample is characterized in the large glove box, it is transferred without exposure to air to the scanning-electron microscope for detailed, microstructural characterization.
BPTF is one of several facilities at Argonne, other national labs and universities that form an integral part of the Joint Center for Energy Storage Research, a public-private partnership that aims to overcome critical scientific and technical barriers and create new breakthrough energy storage technologies.
PISCES (Pontoon for In-situ Characterization of Environmental Systems) is a lightweight pontoon platform that supports water quality and meteorological sampling. The device, shown here at the Nation Great Rivers field station, will be deployed as part of the National Great Rivers Research and Education Center's long term river monitoring research program, GREON (Great Rivers Ecological Observation Network). The device will be the first water sampling platform to be used in a larger network of water quality platforms on the Mississippi River and large rivers around the world. Photo by S. Paige Allen, Lewis and Clark Community College photographer.
Literary Analysis
The choice of Psalm 113 as the introductory “Hallelujah” psalm in the Hallel Service of the prayer book was obviously dictated by the realization that this psalm is the paradigm for all Hallelujah psalms. It opens with a command or invitation to the worshipers, “the servants of the Lord,” to give praise to the Lord and proceeds with several examples of the Lord's majesty and goodness. The worshipers are enjoined to praise the Name of the Lord, His glorious manifestation among mankind. This call to praise the Lord is rendered in a stirring sequence of rhythms and repetitions suggesting a public invitation to prayer. The second verse, “Let the Name of the Lord be blessed now and forever,” is well-known as the response to the opening invitation to praise of the Lord in The Grace After Meals (Birkat hamazon). Its antiphonal usage may, indeed, have its roots in the original psalmic tradition.
The psalm turns to the omnipresence of the Lord's Name, His reputation generated by the manifestations of his deeds; it embraces the earth from the place of sunrise to that of sunset, both crucial acts of nature controlled by the Lord. Moreover, just as He “is exalted above all nations, “His glory is above the heavens.” The psalmist moves subtly here from the outward manifestation of the Lord's majesty to His transcendence above nature, even above the heavens. The uniqueness of the Lord is reaffirmed in verses 5 and 6 which comprise the heart of the psalm, the wonder of this God who is so transcendentally exalted, yet concerned with what happens among mankind below on earth. The combination of these two polar opposites are bound in sound by the seemingly rhymed, archaized suffixes: "hamagbihi" (who sits on high) in v. 5 with “hamashpili” (he who sees below) in v. 6.
The high/low contrast is continued in the next two verses in “mekimi” (He raises) and “moshivi” (He sets on high): the Lord, through His power and benevolence, raises the poor and the needy, He sets them with the great men of His people.” Verses 7 and 8 form an exquisite cluster of correspondences and parallels. “Mekimi” (He raises) in v. 7 corresponds to lehoshivi (to set them) in v. 8 in both meaning and sound. Within each of these two verses, the second part of the verse echoes its first part so that v, 8 also echoes v. 7. Their use of repeated prepositions is balanced: in v, 7 we have the “mi” (from ) twice while in v. 8 we find two instances of “im” (with) in precisely the same position of the sentence as in v. 8.
These two verses, 7 and 8, surprisingly prepare us for verse 9, since all three verses echoes verses from the second chapter of Samuel I, the prayer of thanksgiving Hannah sings when the Lord frees her from her childlessness by granting her a child, the prophet Samuel. Though the names are absent from verse 9, the psalmist and his audience could not miss the reference to this classical instance of God's power and mercy in setting (again “moshive”) “the childless woman (akara) amid her household as a happy mother of children.” The help the Lord extends to childless women is as old as Sarah and Abraham in Genesis. This Hallelujah psalm thus ends climactically with a well-known example, both from real life and literature, that all worshipers can identify with. The repeated use of the archaized form of these adjectives marks them as significant epithets of the Lord; these attributes add details to the characterization of His Name. In both theme and its execution, this psalm is obviously the quintessence of psalmic expression, hence richly deserving of its place as the first psalm of the traditional Hallel Service of the Prayer Book.
The T40 is an ultra high performance probe card used primarily for modeling and characterization. The ceramic core design makes the T40 low leakage, accurate in a wide temperature range, and crash resistant.
August 14, 2019 - NREL researcher Scott Carpenter and Virginia Tech researcher Xiaofan Li test a 10kW Power Take-Off (PTO) system designed for a wave energy converter on the 2.5 MW dynamometer at NREL's Flatirons Campus. A specially designed gearbox using an MMR (Mechancial Motion Rectifier) mechanism is capable of rectifying the bi-direction input into uni-direction to drive the generator. The researchers are performing a system characterization test to determine the dynamic performance of the PTO and identify some unknown parameters. (Photo by Dennis Schroeder / NREL)
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August 14, 2019 - NREL researcher Scott Carpenter and Virginia Tech researcher Xiaofan Li test a 10kW Power Take-Off (PTO) system designed for a wave energy converter on the 2.5 MW dynamometer at NREL's Flatirons Campus. A specially designed gearbox using an MMR (Mechancial Motion Rectifier) mechanism is capable of rectifying the bi-direction input into uni-direction to drive the generator. The researchers are performing a system characterization test to determine the dynamic performance of the PTO and identify some unknown parameters. (Photo by Dennis Schroeder / NREL) 59103.jpg
August 14, 2019 - NREL researchers and EHS Safety experts discuss testing parameters and procedure for a 10kW Power Take-Off (PTO) system designed for a wave energy converter on the 2.5 MW dynamometer at NREL's Flatirons Campus. A specially designed gearbox using the MMR (Mechancial Motion Rectifier) mechanism of is capable of rectifying the bi-direction input into uni-direction to drive the generator. Researchers are performing a system characterization test to determine the dynamic performance of the PTO and identify some unknown parameters. (Photo by Dennis Schroeder / NREL)
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Daniel Penley, Graduate Student Research Assistant in Mechanical Engineering, tries to verify lithium metal, solid-state batteries which use a solid electrolyte instead of the currently used flammable liquid electrolyte, inside the Battery Fabrication and Characterization User Facility at the Phoenix Memorial Laboratory at 2301 Bonisteel Blvd, at the University of Michigan in Ann Arbor, MI on Friday May 7, 2021.
The University of Michigan is researching ways to harness abundant materials for battery production, or reuse older materials to relieve the disproportionate pressure placed on countries like the Democratic Republic of Congo for cobalt or the Philippines for nickel.
Photo: Robert Coelius/University of Michigan Engineering, Communications & Marketing
PISCES (Pontoon for In-situ Characterization of Environmental Systems), shown here at the National Great Rivers Field station, is a lightweight pontoon platform that supports water quality and meteorological sampling. The device will be deployed as part of the National Great Rivers Research and Education Center's long term river monitoring research program, GREON (Great Rivers Ecological Observation Network). The device will be the first water sampling platform to be used in a larger network of water quality platforms on the Mississippi River and large rivers around the world. Photo by S. Paige Allen, Lewis and Clark Community College photographer.
Bread wheat (Triticum aestivum L.) landraces being characterized for drought tolerance, Obregon, Mexico (photo: CIMMYT)
British postcard by Art Photo, no. 101. Photo: London Films / Erich Pommer Production. Publicity still for Fire over England (William K. Howard, 1937).
Leslie Banks (1890–1952) was an English stage and screen actor, director, and producer. He is now best remembered for playing gruff, menacing characters in black-and-white films of the 1930s and 1940s.
Leslie James Banks, CBE was born in West Derby, Liverpool, Lancashire, in 1890. His parents were George and Emily (née Dalby) Banks. He attended school at Glenalmond College in Scotland and later studied at Keble College, Oxford with the intention of becoming a parson but decided against this. He joined Frank Benson's company and made his acting debut in 1911 at the town hall, Brechin, playing Old Gobbo in The Merchant of Venice. He then toured the United States and Canada with Henry V. Esmond and Eva Moore in 1912–1913. Returning to London, he appeared for the first time on the West End, as Lord Murdon in The Dangerous Age in 1914. During the First World War he served with the Essex Regiment. He suffered injuries that left his face partially scarred and paralysed. This later disqualified him from many leading roles that required handsome actors. In his acting career he would use this injury to good effect by showing the unblemished side of his face when playing comedy or romance and the scarred, paralysed side of his face when playing drama or tragedy. After the war, Banks joined the Birmingham Repertory Theatre. He returned to London in 1921 and established himself as a leading dramatic actor and West End star known for his powerful yet restrained performances. Working in both London and New York City, he gained prominence on both sides of the Atlantic, and it was when he was in New York that Kenneth Macgowan persuaded him to go to Hollywood. Banks formidable bulk and intimidating face served him well in his first important film role in The Most Dangerous Game (Irving Pichel, Ernest B. Schoedsack, 1932). He played the sadistic Russian Count Zaroff, a diabolical hunter who arranges for a ship to be wrecked on an island where he can unleashe his vicious dogs and hunts the passengers in the jungle for sport. Ralph Michael Stein at IMDb: “Zaroff is, of course, evil but he's also oddly sympathetic. What's a count to do when he can buy anything and only the most extraordinary hunting will bring him happiness? In that light his trophy room becomes understandable, his bloody diversion almost sympathetic. Banks is very effective in this role where he swings between culture and carnage.” The film is based on a 1924 short story of the same name by Richard Connell and also features Joel McCrea and Fay Wray.
For the rest of his career, Leslie Banks divided his time between Britain and the United States and between film and theatre. One of his most successful films was the British thriller The Man Who Knew Too Much (Alfred Hitchcock, 1934) with Edna Best and Peter Lorre. José Luis Rivera Mendoza at IMDb: “The performances by the actors are of an excellent quality, with Leslie Banks leading the cast with his charming presence and very British wit. His ability to mix drama with comedy makes his character a very real and likable person, that portrays remarkably the everyman placed in an uncommon situation.” Hitchcock remade the film with James Stewart in 1956, but the two films are very different in tone, in setting, and in many plot details. Brendon Hanley at AllMovie: “the original 1934 version of The Man Who Knew Too Much is arguably a more historically significant and aesthetically interesting film. It was Hitchcock's first true international hit.” A box office smash was Farewell Again/Troopship (Tim Whelan Sr., 1937), a multi-plotted British comedy-drama about soldiers on leave and the people they've left. Other film with Banks include the historical drama Fire Over England (William K. Howard, 1937) notable for the first pairing of Laurence Olivier and Vivien Leigh, and Hitchcock’s last British film Jamaica Inn (Alfred Hitchcock, 1939) with Charles Laughton and Maureen O’Hara in her first major film role. Against 'type', Banks starred in British mystery film The Arsenal Stadium Mystery (Thorold Dickinson, 1939), as the eccentric Inspector Anthony Slade. Jim Cross at IMDb: “He plays a curious character who we meet rehearsing policemen in full uniform AND tutus for some sort of theatrical performance! Further, he has a large selection of different hats that he self-consciously picks from every time he has to go and perform some task; when he has to delegate an arrest to his sergeant, he even delegates the appropriate (fishing) hat to him also! Altogether, the character played is fascinating and odd: an English eccentric or a (coded- it is 1939!) gay characterization? Either way, it is Leslie Banks' playing that makes this film at all worth watching...”
Leslie Banks appeared as the Chorus in Henry V (1944), Laurence Olivier's brilliant Technicolor film adaptation of William Shakespeare's play of the same name. Bruce Eder at AllMovie: “Laurence Olivier's Henry V confounded almost every assumption about bringing Shakespeare's work to the screen. In contrast to previous Shakespeare adaptations, it was fresh and lively -- even challenging and daring -- in its presentation and structure; it had fun with its subject, while other versions had been reverent and respectful; and it delighted audiences, scholars, and critics alike, becoming the first screen adaptation of a Shakespeare play to receive mostly enthusiastic reviews and turn a profit.” Banks played a supporting part in the thriller The Small Back Room (Michael Powell, Emeric Pressburger, 1949) about the bureaucratic and personal frustrations of a crippled munitions expert (David Farrar) during World War II. Banks’ final film was Madeleine (David Lean, 1950), based on a true story about Madeleine Smith (Ann Todd), a young Glasgow woman from a wealthy family who was tried in 1857 for the murder of her lover, Emile L'Angelier (Ivan Desny). The trial was much publicized in the newspapers of the day and labeled "the trial of the century". Banks played the authoritarian father, unaware of Madeleine's secret life. His theatre roles included Eliza Comes to Stay (his American debut in 1914), Captain Hook in Peter Pan (his New York debut in 1924), Petruchio in William Shakespeare’s The Taming of the Shrew (1937) the kindly, doddering schoolmaster in the original 1938 staging of Goodbye, Mr Chips (1938), and James Jarvis in the Kurt Weill musical Lost in the Stars (1950). Leslie Banks married Gwendoline Haldane Unwin in 1915 and the couple had three daughters: Daphne, Virginia, and Evangeline, who became an actress. Banks was appointed a Commander of the Order of the British Empire for his services to theatre in 1950, the year of his last appearances on stage and screen. He died in 1952, aged 61, from a stroke he suffered while walking.
Sources: Bruce Eder (AllMovie), Brendon Hanley (AllMovie), Ralph Michael Stein (IMDb), José Luis Rivera Mendoza (IMDb), Jim Cross (IMDb), AllMovie, Wikipedia and IMDb.
Project: UAS CHARACTERIZATION OF HIGH WIND DAMAGE TO VEGETATION AND RURAL AREA ASSESSMENTS
With the help of the NOAA Oceanic and Atmospheric Research (OAR) Uncrewed Systems Research Transition Office (USRTO), scientists from the NOAA National Severe Storms Laboratory in collaboration with the Cooperative Institute for Mesoscale Meteorological Studies are working on developing an uncrewed aircraft system (UAS)-based approach to better characterize high-wind damage to vegetation and in rural areas to improve disaster response and recovery.
Photo Credit: Tyler Bell/CIMMS/NSSL
Édouard Vuillard French
Madame Louis Kapferer , c. 1918-19
Glue-based distemper on canvas
This painting was commissioned by the sitter’s sons, Henri and Marcel. Madame Kapferer’s pose is regal, reminiscent of an El Greco cardinal, her expression austere. We feel we know what sort of person she is—her tastes, her cultural and economic class, her personality. From the curious angle of the viewpoint, the virtuoso treatment of her black dress, and the subtle disorder that reigns among the accumulated bibelots and photographs there emerges one of the artist’s masterpieces of setting and characterization.
Private Collection
From the placard: The Jewish Museum
MiniTile™ probes can be used on an industry-standard positioner arm for a variety of semiconductor tests.
Project: UAS CHARACTERIZATION OF HIGH WIND DAMAGE TO VEGETATION AND RURAL AREA ASSESSMENTS
With the help of the NOAA Oceanic and Atmospheric Research (OAR) Uncrewed Systems Research Transition Office (USRTO), scientists from the NOAA National Severe Storms Laboratory in collaboration with the Cooperative Institute for Mesoscale Meteorological Studies are working on developing an uncrewed aircraft system (UAS)-based approach to better characterize high-wind damage to vegetation and in rural areas to improve disaster response and recovery.
Photo Credit: Tyler Bell/CIMMS/NSSL
Flint from the Pennsylvanian of Ohio, USA. (~4.1 centimeters across along the base)
Flint is the "official" state gemstone of Ohio (actually, there's no such thing as "official" anything). "Flint" is sometimes used as a lithologic term by modern geologists, but it is a synonym for chert. Flint and chert are the same - they are cryptocrystalline, quartzose sedimentary rocks. Rockhounds often assert that flint is high-quality while chert is low-quality. Some geologists assert that "flint" implies a biogenic origin and "chert" implies a chemical origin.
Many cherts do have a chemical origin - chert nodules are moderately common in some limestone units. The nodules form during diagenesis - pre-existing silica components in the carbonate sediments are dissolved, mobilized, and reprecipitated as chert masses. Some cherts do have a biogenic origin - for example, radiolarian cherts (rich in radiolarian microfossils) or spicular cherts (rich in siliceous sponge spicules).
The most famous flint deposit in Ohio is Flint Ridge, in Licking County. At this locality, the Middle Pennsylvanian-aged Vanport Flint is exposed in several places. The geologic literature on the Vanport Flint is relatively sparse, with inaccurate, incomplete descriptions and characterizations. For example, the literature describes the Vanport as a sheet of flint at Flint Ridge - it's actually a meganodule horizon. Other descriptions refer to the chert as the remains of siliceous sponges. In reality, siliceous sponge spicules are quite scarce in Vanport samples.
Two graduate student projects during the 2000s, conducted at two different universities, had very different conclusions & interpretations about the origin of the Vanport Flint. A 2003 study concluded that chert at Flint Ridge is biogenic in origin. A 2006 study concluded that the chert is chemical in origin.
Studies done by geologists at Ohio State University at Newark indicate that the Vanport Flint has a relatively complex history, the details of which are still being worked out.
Modern flint knappers value the Vanport Flint for being multicolored and high-quality (= very few impurities). With artificial heating, the flint is more easily knapped into arrowheads, spear points, and other objects. Prehistoric American Indians quarried the Vanport Flint at many specific sites on Flint Ridge. Old Indian flint pits can be examined along hiking trails in Flint Ridge State Park ("State Memorial"). Many authentic Indian artifacts found in Ohio (arrowheads & spearpoints - "projectile points") are composed of Vanport Flint.
Stratigraphy: Vanport Flint, Allegheny Group, upper Middle Pennsylvanian
Locality: Nethers Flint Quarries - flint pit in the woods on the southwestern side of Flint Ridge Road, eastern Flint Ridge, far-western Muskingum County, east-central Ohio, USA (vicinity of 40° 00.137’ North latitude, 82° 11.544’ West longitude)
tPix ASICs assembled on test carrier boards. ASICs are tested on boards compatible with the camera system they'll be used in to minimize characterization time.
Photo by Dawn Harmer/SLAC National Accelerator Laboratory
Learn more: www6.slac.stanford.edu/news/2018-08-23-how-slacs-electron...
August 14, 2019 - NREL researchers and EHS Safety experts discuss testing parameters and procedure for a 10kW Power Take-Off (PTO) system designed for a wave energy converter on the 2.5 MW dynamometer at NREL's Flatirons Campus. A specially designed gearbox using the MMR (Mechancial Motion Rectifier) mechanism of is capable of rectifying the bi-direction input into uni-direction to drive the generator. Researchers are performing a system characterization test to determine the dynamic performance of the PTO and identify some unknown parameters. (Photo by Dennis Schroeder / NREL)
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The Molecular Foundry at Berkeley Lab is a Department of Energy User Facility charged with providing support to nanoscience researchers in academic, government and industrial laboratories around the world. The Foundry provides users with instruments, techniques and collaborators to enhance their studies of the synthesis, characterization and theory of nanoscale materials.
credit: Lawrence Berkeley Nat'l Lab - Roy Kaltschmidt, photographer
XBD200805-00227.TIF
Project: UAS CHARACTERIZATION OF HIGH WIND DAMAGE TO VEGETATION AND RURAL AREA ASSESSMENTS
With the help of the NOAA Oceanic and Atmospheric Research (OAR) Uncrewed Systems Research Transition Office (USRTO), scientists from the NOAA National Severe Storms Laboratory in collaboration with the Cooperative Institute for Mesoscale Meteorological Studies are working on developing an uncrewed aircraft system (UAS)-based approach to better characterize high-wind damage to vegetation and in rural areas to improve disaster response and recovery.
Photo Credit: Tyler Bell/CIMMS/NSSL
The Malaria Program and the Institute for Biomedical Sciences in Suriname (MWI) are cooperating on conducting scientific studies of molecular screening with Real-Time PET PCR for malaria identification (even with very low parasitaemia). In addition the MWI explores the potential use of malaria serology in Suriname and introduce serological testing to allow the country to gradually declare areas of the territory free from malaria. In addition the emerging of Artemisinin resistance can be assessed through molecular characterizations and drug sensitivity studies.
The Malaria program receives technical support from individual infectious disease expert from the Academic Hospital.
Laura Garci-a y Ricardo J. Rodriguez
A Journey through iOS Malware Landscape: Evolution & Characterization
Part 1 “ The Menagerie”
Star Trek- The Menagerie , “Return to Talos IV”
youtu.be/v5XBfgPy43A?t=2s The full feature.
The Menagerie Review: February 8, 2014 by neoethereal
As the only two-part episode in The Original Series, “The Menagerie” also cleverly serves as a re-telling of the very first Star Trek story ever filmed, “The Cage.” This week on The Uncommon Geek, I examine all of these episodes in full detail, highlighting their connections to other aspects of the Trek mythos. As well, I take a look at the ground broken by Gene Roddenberry concerning the nature of reality, decades before movies like “The Matrix” challenged the perception of our everyday world.
Equipped with little more than a shoestring budget and massive constraints on time with which to work, Gene Roddenberry and his Star Trek production team had to get extremely creative in order to make the show work. Nowhere, in my opinion, is that more evident than here in “The Menagerie,” an entry that served the purpose of buying the production team time to properly finish subsequent episodes, and as well, afforded Gene Roddenberry a unique opportunity to re-tell the story he had wanted to get on the air all along, “The Cage.”
This episode begins with the Enterprise having been called out of its way, to Starbase 11. Confusion arises when the starbase’s commanding officer, Commodore Mendez, reveals to Captain Kirk that the base never sent any message to the Enterprise. Spock claims to have received that message, which puts Kirk into the difficult position of whether to trust the starbase computers, or the word of his first officer and friend.
It turns out that Captain Christopher Pike, the former commander of the Enterprise, who was recently crippled and disfigured in a terrible accident, is on Starbase 11, and suspicion arises that perhaps he relayed a message to Spock. When Kirk finally gets to see Pike, however, he realizes that it would have been impossible for Spock’s former commanding officer to have done this, for Pike is now wheelchair bound, and his communication with others is limited to electronic beeps that fill in for “yes” and “no.
While Kirk and Mendez wrestle over the truth, Spock executes a daring and clever plan to hijack the Enterprise, taking Captain Pike with him. It goes to show just how dangerous an opponent someone as smart and calculating as Spock can be when he puts his mind to it. Spock sets the Enterprise on a locked course for Talos IV, a planet which the ship visited on a past mission under Christopher Pike, and a planet that invites the death penalty upon any Starfleet officer who goes there
The secret file on Talos IV, and the article of General Order 7
I personally find the idea of a death penalty being associated with Talos IV to be somewhat dubious; although there is a very good reason why Starfleet wants the existence of the Talosians kept secret, I find it hard to believe that if the Federation is capable of having a death penalty, that it only applies to one law. It may just be a grand bluff, and indeed, there is some evidence to that effect later in the episode. Regardless, breaking General Order 7 is a serious offense, and Spock is if nothing else, putting his career and livelihood on the line.
Kirk, of course, isn’t going to sit by while his ship is abducted. He and Mendez make a daring attempt to chase the Enterprise in the Shuttlecraft Picasso, knowing full well that while they would never catch up, they would appear on the Enterprise sensors. Kirk gambles his life on the fact that his friend Spock would not leave him to die in the void of space, as the shuttle runs out of fuel. Kirk’s illogical gambit causes Spock’s plan to unravel, and he surrenders himself to custody, pleading guilty to every charge leveled against him. However, Spock has locked the Enterprise into a course for Talos IV that cannot be broken, which will potentially extend the death sentence that is on himself, to Kirk as well.
The court martial that proceeds against Spock is highly unusual; as mentioned, Spock pleads guilty without defense, but through some legal technicality, manages to arrange for the court to hear out his evidence as to why he went through with his illegal actions. Given that Kirk is presiding over the hearing, and that the crew has little else to do but wait until they reach Talos IV, I get the lenience, but I am not sure what real court would remain in session to examine evidence for someone who just admitted their guilt. Or admittedly, maybe I just don’t know enough about legal proceedings.
Spock’s evidence, as it turns out, is a transmission from Talos IV, beamed directly to the Enterprise, which details the vessel’s first trip there under the command of Captain Pike. Of course, this transmission is the original Star Trek pilot, “The Cage,” and from this point on, “The Menagerie” consists almost entirely of footage from that episode.
Aside from some really goofy tech dialogue, and incomplete characterizations, “The Cage” holds up surprisingly well. We get to see that Jeffrey Hunter’s Captain Pike is a darker, colder man than James Kirk; he is someone whose decisions and responsibilities as a commander are weighing on him heavily, and he is nearing the point of considering resignation. Pike’s first officer is only referred to as Number One (played by Majel Barrett), who is an amazing example of a strong female role for 1960’s television, but unfortunately her character had to be discarded by Roddenberry when the studio forced him to choose between keeping his strong, logical female, or his alien Spock. Roddenberry ended up giving Spock Number One’s cold, emotionless, logical persona, and thus the Spock we know and love was born.
It really is a shame that NBC put so much pressure on Roddenberry to alter his concept of women in the 23rd Century; aside from Number One, the other female crew members of the Cage-era Enterprise also seem to be on equal footing with the men, and there isn’t a mini-skirt in sight. Of course, this reviewer by no means, from an aesthetic point view, objects to how the women of the Enterprise look in said mini-skirts, but cheekiness and my own red-blooded male impulses aside, the female officers in Starfleet should have been offered the same, more professional uniform as the males. Unfortunately we would have to wait until The Motion Picture to see more fairness in the way men and women are presented in Star Trek.
When Enterprise finds evidence of human survivors on Talos IV, from a doomed expedition many years ago, Pike, Spock, and an away team beam down to investigate. What at first seems like a wonderful discovery of lost, homesick men, turns out to be just an elaborate, life like illusion created by the Talosians. Pike is abducted when he is lured in by the only true human survivor from the crash, Vina, whom he is extremely attracted to.
Pike is subjected to a variety of illusions crafted by the Talosians, in order to foster cooperation, as well as to strengthen his attraction toward Vina. Vina is presented to Pike in a variety of forms; as a damsel in distress on Rigel VII, as a wife in the countryside on Earth, and as a primal, animalistic Orion slave woman, all in an attempt to make him submit to his situation.
However, Pike is every bit as stubborn as Captain Kirk, and certainly has a darker, more furious edge to him. When he discovers that primitive, base human emotions such as hatred, and anger, block out the Talosian’s illusions and their telepathic abilities, he mines that weakness long enough to take one of them captive. Once the illusion is broken, the Enterprise crew find out that their attempts to break Pike out from his underground cage with phaser fire were actually working, but all along they weren’t able to see it.
The Talosians had, thousands of centuries ago, devastated their planet and their civilization with war. They retreated underground, where their telepathic abilities flourished, but their physical bodies and their technology atrophied. They had apparently been testing various species for many years, looking for a suitable slave race to use for rebuilding their world, but none had shown as much promise as humanity.
However, when the away team threatens to kill themselves with an overloaded phaser, and as well when the Talosians finish screening the Enterprise‘s records, they realize that humans would rather die than be enslaved, and would be too violent to keep in captivity. With of course, the sad exception of Vina, who in reality is too badly disfigured to live a normal life outside of Talos IV.
(I once heard a suggestion that Vina could be repaired using the transporter. I don’t think 23rd century transporters were sophisticated enough for that, plus, there wouldn’t be an original, unaltered version of her pattern to reference.)
The ending of “The Cage” leads us to the final moments of “The Menagerie,” where it is revealed that not only have the Talosians been transmitting a signal to the Enterprise, but even Commodore Mendez himself has been one of their illusions all along!
It is also revealed that Spock’s only intention was to take Captain Pike to Talos IV, so that the crippled starship commander could live out the rest of his life as a healthy, happy man with Vina. Even Kirk seems to relent that it is better to live with an illusion of health and happiness, than a reality of living as a useless vegetable. That Commodore Mendez was an illusion, and that Starfleet sends a signal to the Enterprise, apparently excusing their violation of Talos space, seems to let Spock off the hook. Perhaps too easily in fact; despite acting out of nothing but loyalty to his former Captain, and despite that the way he enacted his plan was done in such a manner as to put the blame only on himself, Spock seems to get out of his predicament with apparently no trouble at all. We can make a guess that perhaps this incident is why he doesn’t receive a promotion or command of his own until years later, but there is nothing spoken on-screen to that effect.
We are also left to ponder about how much of the incident was real at all. Since the Talosians can apparently project their powers through subspace, one wonders just how long they conspired with Spock, and also, how much we see of Mendez was real or an illusion. My guess is that the Mendez we see at the base was real, and what goes onto the shuttle with Kirk was the illusion, but unfortunately, again, there is little to back that up. What we do know for sure is that the Talosian’s powers are not to be trifled with, and it is truly for wise for Starfleet to give them a wide berth.
Despite some problems with logic and consistency, “The Menagerie” is an entertaining, fascinating episode that shows original series Trek at some of its most interestingly cerebral. Gene Roddenberry’s first pilot examines the nature of reality decades before The Matrix did, and asks the questions: What is real? How does one define their purpose, their reality? Is our reality just relative, defined only by experience? Is there a such thing as an absolute reality, or only what our senses perceive, or for that matter what they think they perceive? This is smart, ahead of its time writing for the 1960s.
Through the tragedies that befell both Vina and Pike, we must also question the quality of human life, and the value we place on it. Is it worth staying alive if you can’t function? If your brain is sound but your body is broken, can you still truly live? Speaking for myself, I certainly would despise the existence that Captain Pike is forced to endure in his wheelchair. I’d rather be dead than live that way. I’m not sure how I would react exactly to being forced to live in an illusion, but it is certainly preferable to a reality of uselessness and immobility. Besides, is our everyday life not just an elaborate series of deceptions spun before our very eyes; maybe not as powerful as a trick of telepathy played by an alien race, but an illusion nonetheless?
For even provoking these thoughts, and much more, “The Cage,” and by extension, “The Menagerie,” are what I consider among the best of Star Trek’s purely cerebral stories about human nature. It is imaginative, thoughtful, and quite engaging.
The Hellenistic age marks the unification of the Greek world, sharing a common culture based on that of 5th and 4th century BC Athens, along with a fusion of Near Eastern cultures. The Hellenistic style of sculpture, developed in the areas conquered by Alexander the Great, is chiefly characterized by delicate and highly finished modeling, dramatic movement of forms in space, representations of extreme emotion, highly individuated characterization, and a wide variety of subject matter.
Suspended Animation Classic #877 First published October 16, 2005 (#42) (Dates are approximate)
The King
By Michael Vance
The King has reentered the building.
Please. Not again.
Let’s be honest. What more can be done with the old canard that Elvis Presley isn’t dead? In fact, this idea has run so rampant that no Rock and Roll singer has ever died, and Elvis, Jim Morrison, Jimmie Hendrix and Buddy Holly are actually playing Pinochle with Janis Joplin and John Lennon somewhere in Oklahoma right now. Elvis is winning.
But can artist and writer Rich Koslowski bring something fresh in the way of characterization, plot, and dialog to his graphic novel The King?
Astonishingly, yes.
Is his visual storytelling strong enough to keep a reader turning pages to reach the denouement?
You bet.
His art is cartoonish but powerful, the staging in each panel flawless, the pacing from panel to panel enticing, and his visual characterizations are both appealing and consistent.
Well, then, can just a little bit of what The King is all about be shared?
Sure. It is about real and phony faith.
Put your fists down. It is also about a washed up National Enquirer journalist investigating an Elvis impersonator in a gold helmet who is so convincing that he has turned a dump in Las Vegas into a money-making machine and founded his own church. The impersonator picked this reporter to interview him.
It is about the cronies that surround this Elvis, and why they do so. And it is about 261 pages long.
And it is all done using profanity, nihilism, sexual and drug abuse, and nudity, all sure markers that it will get slammed by this reviewer.
The King is highly recommended for adults.
Wha … ? Huh?!?
It never glamorizes these vices.
And it’s about time you bought a copy.
Thank you very much. The reviewer has left the building.
The King/$19.95 from Top Shelf Productions/sold in comics and book stores.
President Obama’s Inaugural Address today may be one of the best of all time, and may be especially of interest to Israel. He has already had a lot to say about the “Holy Land,” and many wait with bated breath to see what he says today!
Today President Barack Obama will present what may be one of the greatest speeches of all time when he delivers his Inauguration Address. The precedent for such an event has already been established, as two of the best 35 speeches in history were, in fact, Inaugural Addresses. And, with our nation’s current state of affairs, it is entirely possible that profound words will, in fact, be uttered.
Make no doubt about, people are listening to what President Obama says, as the excerpt below from an article by Lanny Davis indicates. And, this is true not only of Americans, but of those around the world - - especially in Israel. As you listen to what the President says today about Israel, compare it to what he said in the two speeches mentioned in Mr. Davis’ article!
Lanny Davis Article
The New York Times' headline on Monday, concerning President Obama's speech on Israel the day before to the national pro-Israel organization, AIPAC, read:
"Obama Presses Israel to Make Hard Choices."
The story, written by Helene Cooper, began with an unusually non-factual, subjective characterization: "President Obama struck back at Prime Minister Benjamin Netanyahu of Israel" in the Sunday American Israel Public Affairs Committee (AIPAC) speech. The rest of the story reinforced the notion that Obama had not significantly changed his Sunday speech from the one he delivered the previous Thursday, May 19.
The Washington Post's headline on the same day reflected a 180 degree opposite interpretation:
"Obama reiterates 'ironclad' support for Israel."
There were several material differences between the Thursday and Sunday speeches, such as calling Hamas a "terrorist organization" on Sunday, saying Israel should not negotiate with a group that doesn't recognize the Jewish state's right to exist. But last week, Hamas was just an "organization that has and does resort to terrorism." But most noteworthy was the different context to the controversial reference to negotiations based on "1967 borders."
In the earlier speech, Obama stated: "We believe the borders of Israel and Palestine should be based on the 1967 lines with mutually agreed swaps, so that secure and recognized borders are established for both states."
But on Sunday, May 22, Obama repeated the reference to 1967 lines and mutually agreed swaps, but added these words, which were inexplicably omitted from Cooper's story in the Times: "By definition, it means that the parties themselves -- Israelis and Palestinians -- will negotiate a border that is different than the one that existed on June 4, 1967. It allows the parties themselves to account for the changes that have taken place over the last forty-four years, including the new demographic realities on the ground and the needs of both sides."
The key addition is the phrase, "new demographic realities on the ground."
These are nearly identical words to those used by President George W. Bush in his April 2004 letter to then-Israeli Prime Minister Ariel Sharon -- that the finally negotiated borders in an Israeli-Palestinian negotiation must reflect "new realities on the ground, including already existing major population centers" (widely understood to be a reference to those West Bank Israeli settlements needed for Israel's security.)
In other words, Obama had gone from a brand new formulation on Thursday that no American president had ever stated before publicly -- a fact that he explicitly acknowledged in his Sunday speech -- to one that had been explicitly stated by Bush.
What further differentiated Obama's remarks from those of every president since Lyndon Johnson was his omission of a clear statement, in the speech or at any point in his Presidency, that Israel cannot be expected to go back to the 1967/1949 armistice lines, and that as President Clinton endorsed in the "Clinton Parameters" and President Bush said on behalf of the United States in a letter to Israel's Prime Minister, that demographic changes and reality on the ground will affect the negotiated outcome that the United States supports.
What a man says is important, and he will be held accountable for it. As usual, the issue is addressed in the Word of God, as reflected in Numbers 30:1-2, “Moses spoke to the heads of the tribes of Israel, saying, “This is what the Lord has commanded. If a man vows a vow to the Lord, or swears an oath to bind himself by a pledge, he shall not break his word. He shall do so according to all that proceeds out of his mouth. It is important that we remember that this applies not only to President Obama but to each of us as well. As a result, when we promise to pray according to the dictates of Psalm 122:6 and pray for the peace of Jerusalem we must be diligent to keep that promise!
For more on this story, visit: Jerusalem Prayer Team Articles Page.
LIKE and SHARE this story to encourage others to pray for peace in Jerusalem, and leave your own PRAYERS and COMMENTS below.
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The Radiochemical Processing Laboratory at PNNL is home to a new flagship JEOL GrandARM-300F scanning transmission electron microscope. This unique instrument will allow unprecedented atomic-scale characterization of nuclear materials, structural alloys, and functional systems in dynamic conditions.
For more information or additional images:
(202) 586-5251
EnergyTechnologyVisualsCollectionETVC@hq.doe.gov
www.flickr.com/photos/departmentofenergy/collections/7215...
Project: UAS CHARACTERIZATION OF HIGH WIND DAMAGE TO VEGETATION AND RURAL AREA ASSESSMENTS
With the help of the NOAA Oceanic and Atmospheric Research (OAR) Uncrewed Systems Research Transition Office (USRTO), scientists from the NOAA National Severe Storms Laboratory in collaboration with the Cooperative Institute for Mesoscale Meteorological Studies are working on developing an uncrewed aircraft system (UAS)-based approach to better characterize high-wind damage to vegetation and in rural areas to improve disaster response and recovery.
Photo Credit: NOAA
Project: UAS CHARACTERIZATION OF HIGH WIND DAMAGE TO VEGETATION AND RURAL AREA ASSESSMENTS
With the help of the NOAA Oceanic and Atmospheric Research (OAR) Uncrewed Systems Research Transition Office (USRTO), scientists from the NOAA National Severe Storms Laboratory in collaboration with the Cooperative Institute for Mesoscale Meteorological Studies are working on developing an uncrewed aircraft system (UAS)-based approach to better characterize high-wind damage to vegetation and in rural areas to improve disaster response and recovery.
Photo Credit: Tyler Bell/CIMMS/NSSL