View allAll Photos Tagged components
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-14-688
DHS TRAINING: Improved Documentation, Resource Tracking, and Performance Measurement Could Strengthen Efforts
Clearly visible here are the Simplex gear stops on down tube and chainstay and Gillotts' own Osgear dropout brazeon. This frame has ONLY this bracket for the tension arm. The 49 Curly Cut is similar. The orange 51 Spear has the chainstay tab.
Multi-Component Inspector Kit (MCIK) for Complementary Access (CA)/DIV Inspections
Safeguard Equipments - Visual observation instrument Nikon Key Mission 80 camera from the user´s perspective. IAEA Vienna, Austria, 3 October 2018
Photo Credit: Dean Calma / IAEA
Because you asked, here's a description of the making of Helium Head.
Though I was giddy and lightheaded with this idea, getting in the air required more than inhaling some helium. My first attempt had me hanging by my hands from a tree branch I could reach by jumping. My camera was mounted to my tripod which was laying on the ground with the camera head angled up. Even with my lens zoomed out to 18mm, I couldn't get my whole body into the frame. I had to get higher, so using a ladder was the answer.
To keep from breaking any limbs (mine, not tree limbs), I set my ladder next to a tree and lashed it to the trunk so that when I was at the top, the ladder wouldn't tip over and put me on my head. After about 4-5 attempts of pushing the shutter button set on a 10 second timer, scrambling up the ladder and turning to sit sideways on the top step (try hanging onto a ladder with just your butt) I was able to get a shot I was happy with. (I suspect I entertained, or perhaps worried my neighbors with all this activity as well) In post production, I used a layer mask and black brush set to about 80% edge hardness to remove the background from around my body.
Next shot was to get a separate photo of my head against a blue sky so I wouldn't have to do any work cutting out around my hair. I moved to a new location, making sure I was still facing into the sun. I added a strobe to the camera to reduce the shadows under my brow, nose, chin, and in my mouth, then held back my collar so that it wouldn't be included in the enlarged head photo. In post-production I used a layer mask to cut-out my head and place it into the body image, then used the warp tool to reduce the size of my neck to fit into my smaller collar opening.
I shot the top branches of a tree to add to the bottom of the photo to help with the illusion that I was rising above the ground. I blurred the tree branches to give them the appearance in the final image of being farther away and not the main focus of the image. Blurring the branches made my feet appear extra sharply focused and helped separate them from the background.
Lastly, I pulled a photo of clouds from my stock "Clouds" folder (I often shoot pictures of just clouds to keep for later use) and composed them into the shot for a little extra detail. Color adjustment, contrast, and spot sharpening was done to the overall image and wallah - 4 hours later I was done!
A fast, capable road bike with a great build and killer paint job by Jordan at Hot Tubes. Photo by JP Bevins.
The Avalanche Detection System at Bear Pass, on Hwy 37A, gathers data about moving snow and ice masses on large expanses of avalanche terrain, up to five kilometres away.
When there’s movement, the radar recognizes that as an algorithm matching avalanche activity, captures the information and triggers a real-time alert which is sent to our Bear Pass avalanche team. The message contains critical information such as location, size and frontal speed of the event, that the team can immediately analyze, to determine the response required and any risks set off by the movement.
Traditionally, one aspect of avalanche monitoring is on-site observation, which restricts the team’s ability to collect data on avalanche activity to daylight hours and good weather. The AADS helps our avalanche experts to continuously monitor avalanche activity day or night, in any weather condition, from their mobile device.
Swee Lan's sleeve, Tim Kelley, Harit Talwar, Bill Chapin, Bhaskar Menon, Marcela & Roberto Alonso, Nancy Goodman, Ron Zettel, Ronaldo Freitas, Phee Boon Kang, Norma Freitas, Jack Berger Marie Zettel, Lilly Zeller, Vicky DeMeo, Mary Jo & Dick Kovacevich, Jeanine Farhi, Art Zeller, Alain Farhi (partly obscured)
A closer look on my final piece painting in real life.
Description:
Component 2 Final Piece –
“Why?”
At first glance, it would look like two princesses in fancy dresses and jewellery, posing for a decent photograph. But at a closer look, this painting has a few deep meanings behind it, where the painting prioritizes three meanings symbolized by the gestures and stains of blood; the sad expression of their faces and their eyes, representing sadness and regret, their hands gripping tightly onto each other, representing hope and struggle, and the blood stains on Princess Anastasia of Russia’s dress and Empress Elisabeth of Bavaria’s corset, representing the history of their murders itself.
The title “Why?” summarizes the whole meaning of the painting, where the princesses, bound unknown to their fate, with a million questions on their minds only visible through their teary eyes and painfully sad expressions.
The strong grip of their hands together symbolizes their struggles as the princesses went through their depressing journeys of pressure and tears, leading to the blood stains on their corset and dress, showing the history of their murder, where Anastasia was executed with her family with her body parts dismembered, along with her family’s, showing the large amount of blood stains on her dress, while Empress Elisabeth was murdered with a direct stab to her heart by an Italian man who only had the reason of “doing the deed” or need to kill a royal family.
Another meaning, however is shown also from the grip of their hands; bond. They are both princesses, both ending in cruel fate and both showing regret as I had visualised them. Anastasia did not get to spend any more time with her sisters, mother or literally an older figure of a woman, while Empress Elisabeth never got to spend time with her children, whom some had lost their lives earlier than she had.
The feeling of regret brought tears to their eyes, for their fate, loss of time, and history led to a million questions starting with “why?” on their face expressions, supported by the strong grip of struggle, a bit of hope and bond. I have also concentrated on the details of this painting, including the jewellery, the crowns and the veil, showing themselves as indeed, the royal-blooded princesses from two different countries, sharing the same bond of fate.
The faint shades of golden yellow on their dresses also symbolises their shining figure as royalty, and I have chosen her coronation dress for Empress Elisabeth because all of her depressing journey to her end began right after the coronation and wedding day, and a court gown for Princess Anastasia, for which both symbolizes the purity and innocence of the two.
The dark black with faint golden background also represents engulfing darkness into their lives, even with only a little bit of happiness they had experienced, it had slowly faded along into the overall misty, uncomfortable dark aura that had surrounded and destroyed their lives.
Santiago de Compostela Arch Cathedral Basilica (Spanish and Galician: Catedral Basilica de Santiago de Compostela) is part of the Metropolitan Archdiocese of Santiago de Compostela and is an integral component of the Santiago de Compostela World Heritage Site in Galicia, Spain. The cathedral is the reputed burial place of Saint James the Great, one of the apostles of Jesus Christ. It is also among the remaining churches in the world built over the tomb of an apostle, the other ones being St Peter's Basilica in Vatican City, St Thomas Cathedral Basilica, Chennai in India and Basilica of St. John in Izmir, Turkey. The arch cathedral basilica has historically been a place of pilgrimage on the Way of St James since the Early Middle Ages and marks the traditional end of the pilgrimage route. The building is a Romanesque structure, with later Gothic and Baroque additions. Construction of the present cathedral began in 1075 under the reign of Alfonso VI of Castile (1040–1109) and the patronage of bishop Diego Peláez. It was built according to the same plan as the monastic brick church of Saint Sernin in Toulouse, probably the greatest Romanesque edifice in France. It was built mostly in granite. Construction was halted several times and, according to the Liber Sancti Iacobi, the last stone was laid in 1122. But by then, the construction of the cathedral was certainly not finished. The cathedral was consecrated in 1211 in the presence of king Alfonso IX of Leon. Each of the façades along with their adjoining squares constitute a large urban square. The Baroque façade of the Praza do Obradoiro square was completed by Fernando de Casas Novoa in 1740. Also in baroque style is the Acibecharía façade by Ferro Caaveiro and Fernández Sarela, later modified by Ventura Rodríguez. The Pratarías façade, built by the Master Esteban in 1103, and most importantly the Pórtico da Gloria, an early work of Romanesque sculpture, were completed by Master Mateo in 1188 / Santiago de Compostela is the capital of the autonomous community of Galicia, in northwestern Spain. The city has its origin in the shrine of Saint James the Great, now the Cathedral of Santiago de Compostela, as the destination of the Way of St. James, a leading Catholic pilgrimage route since the 9th century. In 1985, the city's Old Town was designated a UNESCO World Heritage Site. The cathedral borders the main plaza of the old and well-preserved city. According to medieval legend, the remains of the apostle James were brought to Galicia for burial; in 813, the light of a bright star guided a shepherd who was watching his flock at night to the burial site in Santiago de Compostela. This site was originally called Mount Libredon and its physical topography leads prevalent sea borne winds to clear the cloud deck immediately overhead. The shepherd quickly reported his discovery to the bishop of Iria, Bishop Teodomiro. The bishop declared that the remains were those of the apostle James and immediately notified King Alfonso II in Oviedo. To honor St. James, the cathedral was built on the spot where his remains were said to have been found. The legend, which included numerous miraculous events, enabled the Catholic faithful to bolster support for their stronghold in northern Spain during the Christian crusades against the Moors, but also led to the growth and development of the city. Along the western side of the Praza do Obradoiro is the elegant 18th-century Pazo de Raxoi, now the city hall. Across the square is the Pazo de Raxoi (Raxoi's Palace), the town hall, and on the right from the cathedral steps is the Hostal dos Reis Católicos, founded in 1492 by the Catholic Monarchs, Isabella of Castille and Ferdinand II of Aragon, as a pilgrims' hospice (now a Parador). The Obradoiro façade of the cathedral, the best known, is depicted on the Spanish euro coins of 1 cent, 2 cents, and 5 cents (€0.01, €0.02, and €0.05). Santiago is the site of the University of Santiago de Compostela, established in the early 16th century. The main campus can be seen best from an alcove in the large municipal park in the centre of the city. Within the old town there are many narrow winding streets full of historic buildings. The new town all around it has less character though some of the older parts of the new town have some big flats in them. Santiago de Compostela has a substantial nightlife. Both in the new town (a zona nova in Galician, la zona nueva in Spanish or ensanche) and the old town (a zona vella in Galician or la zona vieja in Spanish, trade-branded as zona monumental), a mix of middle-aged residents and younger students maintain a lively presence until the early hours of the morning. Radiating from the centre of the city, the historic cathedral is surrounded by paved granite streets, tucked away in the old town, and separated from the newer part of the city by the largest of many parks throughout the city, Parque da Alameda. Santiago gives its name to one of the four military orders of Spain: Santiago, Calatrava, Alcántara and Montesa. One of the most important economic centers in Galicia, Santiago is the seat for organizations like Association for Equal and Fair Trade Pangaea. The cathedral borders the main plaza of the old and well-preserved city. According to medieval legend, the remains of the apostle James were brought to Galicia for burial; in 813, the light of a bright star guided a shepherd who was watching his flock at night to the burial site in Santiago de Compostela. This site was originally called Mount Libredon and its physical topography leads prevalent sea borne winds to clear the cloud deck immediately overhead. The shepherd quickly reported his discovery to the bishop of Iria, Bishop Teodomiro. The bishop declared that the remains were those of the apostle James and immediately notified King Alfonso II in Oviedo. To honor St. James, the cathedral was built on the spot where his remains were said to have been found. The legend, which included numerous miraculous events, enabled the Catholic faithful to bolster support for their stronghold in northern Spain during the Christian crusades against the Moors, but also led to the growth and development of the city. The 1,000-year-old pilgrimage to the shrine of St. James in the Cathedral of Santiago de Compostela is known in English as the Way of St. James and in Spanish as the Camino de Santiago. Over 200,000 pilgrims travel to the city each year from points all over Europe and other parts of the world. The pilgrimage has been the subject of many books, television programs, and films, notably Brian Sewell's The Naked Pilgrim produced for the British television channel Channel 5 and the Martin Sheen/Emilio Estevez collaboration The Way. Along the western side of the Praza do Obradoiro is the elegant 18th-century Pazo de Raxoi, now the city hall. Across the square is the Pazo de Raxoi (Raxoi's Palace), the town hall, and on the right from the cathedral steps is the Hostal dos Reis Católicos, founded in 1492 by the Catholic Monarchs, Isabella of Castille and Ferdinand II of Aragon, as a pilgrims' hospice (now a Parador). The Obradoiro façade of the cathedral, the best known, is depicted on the Spanish euro coins of 1 cent, 2 cents, and 5 cents (€0.01, €0.02, and €0.05). Santiago is the site of the University of Santiago de Compostela, established in the early 16th century. The main campus can be seen best from an alcove in the large municipal park in the centre of the city. Within the old town there are many narrow winding streets full of historic buildings. The new town all around it has less character though some of the older parts of the new town have some big flats in them. Santiago de Compostela has a substantial nightlife. Both in the new town (a zona nova in Galician, la zona nueva in Spanish or ensanche) and the old town (a zona vella in Galician or la zona vieja in Spanish, trade-branded as zona monumental), a mix of middle-aged residents and younger students maintain a lively presence until the early hours of the morning. Radiating from the centre of the city, the historic cathedral is surrounded by paved granite streets, tucked away in the old town, and separated from the newer part of the city by the largest of many parks throughout the city, Parque da Alameda. Santiago gives its name to one of the four military orders of Spain: Santiago, Calatrava, Alcántara and Montesa.
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-16-538
NATIONAL GUARD AND RESERVES: Air Force Needs to Consistently Assess Personnel Requirements to Appropriately Size Its Headquarters Reserve Components
EUROBIKE, 28 August 2014. Lectures on LEV Components within the LEV Components Special Exhibition.
Read the article: extraenergy.org/main.php?language=en&category=&su...
Ramsey Campbell's botanic Green God (it is actually nameless) and its Children from his short story "The Horror under Warrendown" were the basis for this custom Great Old One for Arkham Horror 2nd Ed..
I wanted to incorporate both threats in a rather simple fashion, without extra game material, so that the Green God can be easily integrated into the basic game and its expansions. Therefore, the standard Cultists were employed as The Green God's mutated, rodent-teethed and rabbit-like Children, and they became part of a kind of race sub-plot that adds threat but also offers players the option to counter it.
When a Child of the Green God appears through regular play, it will dash across the board and potentially open an additional Gate, speeding up the Great Old One's awakening and releasing some more Monsters onto Arkham's streets.
The Children themselves are not very dangerous, but they are fast and hard to confront, so that players better act fast to stop them. However, a confrontation with them is potentially dangerous, too, because Investigators might become infected with the Green God's mutagenic matter, initiating the slow but hard-to-stop transformation into a Child, which will eventually try to open a new Gate! This conforms not 100% with the literature background (only the Green God is "infectious"), but it's a nice players' threat.
With six Cultists in the basic game and a few more in the expansions, this will not happen frequently, though.
However, as a threat balance, the curse-induced transformation also starts with ANY Curse the Investigators might catch!
The final battle relies on a similar pattern, based upon being Cursed and starting to gradually mutate into Children of the Green God.
4130 chro-mo tubing, including fork; Sugino VP triple with 52/44/36 teeth & 175 mm cranks; MKS Sylvan pedals (they and the bottom bracket all spin freely and happily); low-end Suntour α-3000 derailer (which suggest circa 1987-89 if original) paired with basic Shimano shifters (discontinued after mid-1990s.)
Mid-fork braze-ons for lowriders or a rack. A 700 x 32C Kenda Qwest fits in the fork with room for carefully installed fenders, but I'm not sure I could get one in the back. Horizontal rear dropouts, integrated rear cable stop for center-pull cantis. Kuwahara Cyclone headset. Heavy-duty quill stem that I should have taken a photo of.
20 lbs as found. I am just a sucker for derelict bikes.
[edit] Snooping around on forums yields a best guess that it is a Kuwahara Parkway. The crankset seems to be an upgrade, and likely the SunTour ders as well. Although a 700c wheel fits in the front (and possibly might just fit in the back) the brake posts would be in the wrong place, unless one wanted to buy fancy brakes that are worth way more than the bike (...or an add-on bracket that sits on the existing posts and provides newer ones higher up/further from the hub.) So a 26" touring mtn cruiser it is!
When this rideable, this will be a boon companion to the Kuwahara Blazer mixte I got rolling last year.
update: serial #86123562 seems to indicate a date-of-manufacture in Dec 1986, which jives with the earliest estimate based on the derailleur line.
Reporters prepare to record a test on a five-story building equipped with a wide range of non-structural components, such as an elevator and sprinklers, at the NEES @ UCSD shake table in April 2012. The shake table was recognized with a Best of What's New Award by Popular Science in November 2013.
For those of you who are interested in the 'bits', here are a selection of the key parts.
Not a complete rundown by covers the main mechanicals and load-bearing structures.
Car is 'drivable' with rear engine/transaxle, front tub and front drive assembly module.
Engine is an eight cylinder in 'W' format. That is two Vee-fours with their crankshafts gearedto a cenntral drive shaft.
Front and rear suspension are both by swing axles and sprung by torsion bars. The front suspension module plus straing into the front of the stressed tub and is completely self contained for load paths. The rear suspension feefs the loadparths into the engine assembly.
Not on the engine module the heat exchangers mounted in front of the rear wheels as well as behing the rear suspension module. The real Veyron has 13 heat exchangers in all. The detailing on the top of the engine asembly replicates the intake system and air-air intercoolers for the charge air.
One of the included images has the entire vehicle assembly arrayed.
Please feel free to ask any questions or request further techincal information regarding the model.
Type 306 stainless rods, nuts, hex cap screws, and washers. Aluminum bar stock to secure the battery.
My whole house mediacenter solution:
Family Room
47” 1080p Vizia LCD
Main Mediacenter (Vista X86)
Theater Room
Xbox 360 (Gaming)
MCE05 (Still using MCE due to videocard and sound decoding issues)
Panasonic AE900U 720p LCD projector (140” screen)
Gallo Reference Mains and center
Gallo Micro rears
4 AE IB 15’s subwoofers located in the ceiling
Bedroom
50” 720p Vizia Plasma
Linksys DMA2100
Extra Bedroom/Workout room
Old Toshiba 36” tube tv
Xbox 360
Home Automation is controlled by Mcontrol
80% of my lights are zwave switches.
TZ 16 Zwave Thermostat
EzRain Irrigation controller
Elan Z630 pre-amp for multizoned audio(house is divided up into 3 zones)
SoulRider.222 / Eric Rider © 2022
------ As of 12/22/2022 -------
Main:
2015 Kona Supreme Operator frame
Roach top tube pad
2022 Manitou Dorado Comp 203mm coil fork (with Pro model polished crowns)
2022 Marzocchi Bomber CR 203mm coil shock
Fox M8 x 38mm shock hardware mounting kit
Fox 400# coil spring (241.3mm x 76mm / 9.5 x 3.0)
Seating:
Jagwire Lex SL dropper post cable kit
Kona seatpost collar
Wolf Tooth Dropper Remote
PNW Cascade external dropper post
SDG Radar seat
Drivetrain:
Hope F20 pedals
2006 E13 (e. thirteen) SRS chain guide
Shimano Zee FC-M645 cranks (Boost)
Generic CNC Hollowtech II crank bolt
Renthal 1XR 34 tooth chainring
Wolf Tooth Components bash ring
Wolf Tooth Components chainring bolts
Specialty Racing Products (SRP) chainring bolts
KMC X10 chain (10 speed)
Shimano XT M800 BB92 Hollowtech II press-fit bottom bracket (Boost)
Transmission:
MicroSHIFT Advent X derailleur (10 speed)
MicroSHIFT Advent X Trail Trigger Pro shifter (10 speed)
MicroSHIFT Advent X 11-52 tooth cassette (10 speed)
Jagwire Lex SL shift cable and housing
Cockpit:
FSA Orbit C-40 headset with ABEC sealed cartridge bearings (lower = 36° x 45° / upper = 45° x 45°)
FSA 1.5 to 1.125 reducer crown race
Wolf Tooth headset bling kit
Renthal FatBar 35mm handlebar
Renthal Integra II 35mm direct mount stem
ODI Rogue Lock-On grips
Rear wheel:
Industry Nine Hydra MTN HG hub (12x157mm Super Boost)
DT Swiss Competition (14/15/14) double butted stainless steel spokes
DT Swiss brass nipples
Spank Spoon 32 rim (32 hole, 26 inch, 32mm outer width, Schrader valve)
Maxxis High Roller II Kevlar bead tire (26 x 2.40)
Rear brake:
Shimano 180mm R/P180 rear caliper adaptor
Galfer Wave 180mm rear rotor
2020 Hope Tech 3 E4 rear brake
Front wheel:
Hope Pro 4 front hub (20x110mm Standard)
DT Swiss Competition (14/15/14) double butted stainless steel spokes
DT Swiss brass nipples
Spank Spoon 32 rim (32 hole, 26 inch, 32mm outer width, Schrader valve)
Maxxis Minion DHF EXO (26 x 2.50)
Front brake:
Manitou 5mm rotor adaptor (20x110 Boost)
Shimano SM-RT75 203mm front rotor
2010 Hope Tech M4 front brake
All my wheels were custom made. Hand-built by Universal Cycles in Oregon.
From the restorer's advertisement:
Enzo Ferrari once said that, “the Mille Miglia created our cars and the Italian automobile industry”, for no other car was this more the case than the fabled Ferrari 166 MM.
This car is one of just seven stunning vignale bodied spyder 166’s built and was sold new to Edoardo Lualdi-Gabardi who competed in no less than 7 races in four months before selling the car to Primo Pezzoli, who raced the car in the 1954 Mille Miglia. Following a total restoration in 1993 by DK, this car was exercised frequently on retrospective events such as the Mille Miglia and The Shell Historic challenge. Following the Mille Miglia in 2000 the car was stolen from outside a hotel and presumed destroyed until discovered in a scrap yard in Italy during 2008, stripped to bare metal and missing vital components.
DK has once more painstakingly restored the car to perfection, building a correctly specified engine and gearbox from period components and refinishing the bodywork and details to the same high standard as the original restoration. The car has taken part in this year’s Mille Miglia (running faultlessly), the Ferrari Owners Club Concours (winning its class despite having completed the Mille Miglia in torrential conditions – testament to the quality of the restoration) and this year’s Goodwood Revival.
Componentes de la mesa redonda: Elena Izquierdo (Médicos del Mundo), Marta Redondo (Universidad de Valladolid), Germán Vivas (Ùltimo Cero), Javier Castán (Director de la Cátedra de Cine de la UVa) y Sergio Mañero (Médicos del Mundo)
Maritime training is a key component of the partnership between Op Atalanta and EUCAP Nestor staff, so the visit was the perfect opportunity to demonstrate HNLMS Tromp’s impressive capabilities to the EUCAP Nestor delegation, including first aid.
Read more: bit.ly/2cPL5D3