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One of the ceramic post insulators supporting the pantograph frame on the cab 1 end of 92023 has been replaced with a different type of insulator to the one it was originally fitted with.
Three "mature" cars, around six weeks of regular work - it seems that I've been rectifying inherited neglect, preparing for tests, and replacing service items on and off since before Christmas.
So, it's my fault for running old vehicles. Old but fixable, I'd contest. Now, this approach to cheap motoring is fine, providing the home mechanic stays ahead of the work. If time is eroded by work, family, and other things, a period of oily fingers and chasing of MOT-test deadlines can wear even the most determined down. Add that to foul weather, and it becomes a veritable "campaign".
So, here are the remains, the slightly odd duck being a gesture to my parents old house. I found her in the garden. She appears here as a reminder that we need vehicles on standby just in case I have to rush south to attend to witness the last breaths of elderly parents.
So, it's over. Here is some of the evidence. The rest is driving around, tested, well-maintained. I'm glad it's over for now. Character building, but best viewed in hindsight.
The Cutterhead supports, represented below, was built by Galbiati Group, and was intended for a boring machine built for an excavation pilot project in Australia, Queensland. The TBM in question, shall have an overall diameter of 8 meters, and will be commissioned for digging two tunnels providing access to a coal mine.
Vacuum tubes, resistors, diodes, a Tube Screamer guitar pedal, transistors, terminal strips and more!
PictionID:44814282 - Catalog:14_014666 - Title:Atlas Component - Filename:14_014666.TIF - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Roma - "I bagni de La Sapienza due mesi dopo," & "Il futuro della Sapienza comincia oggi dal suo passato e dal contributo di tutte le componenti della comunità universitaria." Fonte: ROMA FA SCHIFO & 'ROMA - SAPIENZA UNIVERSITA` DI ROMA' (13|01|2015).
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Le origini - Il passato della Sapienza comincia nel 1303. Benedetto Caetani convince il suo predecessore Celestino V ad abdicare e diventa papa con il nome di Bonifacio VIII. Sostenitore della supremazia universale del papato, Bonifacio si scontra con Filippo IV di Francia e dopo aver redatto la bolla Unam Sanctam, dove ribadisce la supremazia del pontefice su tutte le podestà della terra, lo scomunica nel 1303. Nello stesso anno Bonifacio con la bolla In suprema praeminentia dignitatis fonda lo Studium Urbis, l’Università di Roma. L’Università viene collocata fuori dalle mura vaticane, ubicazione che, se non risolve i vincoli esistenti tra l’università e il clero, segna tuttavia l’inizio di un nuovo rapporto tra la città di Roma e gli studiosi che in essa giungevano da tutte le parti del mondo. (...)
Il presente e il futuro - Dopo una lieve flessione nelle iscrizioni la Sapienza ha ripreso a crescere e rimane il più grande ateneo d’Europa, con circa 145.000 studenti e oltre 10.000 dipendenti tra professori, impiegati e tecnici. Le riforme che hanno riguardato il sistema universitario alla fine degli anni Novanta hanno portato a una forte espansione dell’offerta formativa e delle strutture della Sapienza. A partire dal 2009 è iniziato un processo di riordino che ha portato all’adozione nel 2010 del nuovo Statuto, ispirato a criteri di razionalizzazione e a principi meritocratici. Le facoltà, dimezzate di numero, hanno assunto un ruolo di coordinamento e di supervisione, mentre i dipartimenti, ridotti a 67, si occupano di didattica e ricerca. Il futuro della Sapienza comincia oggi dal suo passato e dal contributo di tutte le componenti della comunità universitaria.
-- ABOUT - ROMA THE LA SAPIENZA UNIVERSITY OF ROME (01|2015):
Sapienza University of Rome, founded in 1303 by Pope Boniface VIII, is one of the oldest universities in the world and a high performer among the largest universities in international rankings.
Since its founding over 700 years ago, Sapienza has played an important role in Italian history and has been directly involved in key changes and developments in society, economics and politics. It has contributed to the development of Italian and European science and culture in all areas of knowledge.
" (...) It is in every regard a research and teaching university: Sapienza carries out outstanding scientific research in most disciplines, achieving impressive results both on a national and international level.
Sapienza also enhances research by offering opportunities to academia on a global scale. Thanks to a special programme for visiting professors, many foreign researchers and lecturers periodically visit the University and contribute greatly to the quality of education and research programmes.
Some 8,000 foreign students are regularly enrolled at Sapienza. In addition to this, Sapienza encourages international exchange: there are over 1,100 incoming and outgoing exchange students per year, thanks to several mobility programmes.
VIDEO | FONTE | SOURCE:
-- Roma - "I bagni de La Sapienza due mesi dopo," in: ROMA FA SCHIFO (13|01|2015).
www.youtube.com/watch?v=BupTyZmPU0k
FONTE | SOURCE:
-- "CHI SIAMO & LA STORIA," in: 'ROMA - SAPIENZA UNIVERSITA` DI ROMA' (01|2015).
ITALIANO - www.uniroma1.it/ateneo/chi-siamo/la-storia
ENGLISH - en.uniroma1.it/sapienza/%EF%BB%BFabout
s.v.,
-- ITALIA ARCHEOLOGIA e BENI CULTURALI: Italian Students Languish in University While Joblessness Soars, BLOOMBERG NEWS (09/06/2013).
This is my MeKeVoRkA costume I made a few years ago. The chest plate is using an EL sequencer that has been modified to use a larger inverter. Unfortunately the photos don't show all the strands lit at once. There is a Basic Stamp microcontroller that is used to activiate a laser module and the red eyes in the mask. The mask also has a microphone that goes to a voice changer box and 10W audio amplifier. All the EL wire interferes with the audio, but I think it sounds kinda cool. There's a video with sound on YouTube, see above for the link.
The belt pack contains the audio amplifier + voice changer circuits, the Basic Stamp board, the hacked sequencer, three EL wire drivers and two sets of eight AA rechargable batteries to power it all for about 3 - 4 hours.
An equipment room houses the “head-end” components that include the Base Station Interface Unit or BIU, and Optical Distribution Unit or ODU and a DAS Management System.
Photo Credit: SoLID Technologies
Sierra Component
Your IT Store
HP ProCurve Gigabit-LX-LC Mini-GBIC (J4859C)
ProCurve Gigabit-LX-LC Mini-GBIC is a small form factor pluggable (SFP) gigabit LX transceiver that provides a full-duplex gigabit solution up to 10 km (single mode) or 550 m (multimode).
Product Name ProCurve Gigabit LX-LC Mini-GBIC
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Application/Usage Data Networking
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Technical Meeting on Advanced Techniques for Equipment Testing Under Field Conditions (BRD TM). Division of Nuclear Security, IAEA Seibersdorf. 13 June 2019
Figure 48. Internal components from one the tested backpack radiation detectors.
Photo Credit: Dean Calma / IAEA
Il programma del sistema automatico di gestione dei cannoni da neve era memorizzato in certi componenti di memoria, che hanno la seguente caratteristica: la scrittura avviene per mezzo di un programmatore elettronico collegato a un computer, ma la cancellazione va fatta sottoponendo i componenti stessi a un intenso fascio di luce a raggi ultravioletti; per questa operazione esistono delle lampade apposta.
Per definizione nessun sistema elettronico complesso può funzionare bene al primo tentativo, soprattutto per quanto riguarda il programma del computer di bordo (avete presente Windows?). Infatti quando ci recammo a Cervinia per l'installazione del primo impianto, mi portai dietro il computer, il programmatore e una scorta di memorie: una scorta che mi sembrò sufficiente a coprire tutte le evenienze, tant'è che non mi portai dietro il cancellatore.
Ovviamente, a forza di pasticciare, le memorie vuote si esaurirono e ci fu il problema di cancellarle. Il primo tentativo fu di utilizzare una lampada abbronzante ai raggi UVA che comprammo in un negozio di Cervinia, ma i raggi UVA sono troppo deboli, e il tentativo fallì miseramente. Allora pensai che, a 2000 metri di quota, forse ce l'avrebbe fatta il sole: ecco, nella foto, una distesa di memorie messe non ad asciugare, come sembrerebbe a prima vista, ma a cancellare! Neanche questo funzionò: per fortuna fu reperito un hobbysta locale che aveva un cancellatore in casa, che ci prestò gentilmente...
Again, a very, VERY tiny example of the vast array of electronic & electro-mechanical parts and components to be found here. You name it, it is probably here, parts-wise (resistors, capacitors, transistors, varistors, heat sinks, diodes of all shapes & sizes, LEDs, etc -- enough to load a large truck).
Note the blown can cap in the right side of the photo! I think the rolled paper is a bunch of pin-up girls (but, then it could be blueprints for some one-off system Dad built for a sawmill in the 1960s) ;)
Upper West Side, Manhattan, New York City, New York, United States
Summary
The 354 Central Park West House is one of a group of five neo -Renaissance style houses, designed by Gilbert Schellenger and built in 1892-93 for Edward Kilpatrick. It is a component of one of two surviving rows of houses on Central Park West and the only one of the two that is intact, recalling a period when there were still many undeveloped blockfronts along Central Park West and the adjacent side street parcels were still only sparsely developed. This house is a rare survivor of the earliest development of Central Park West where there was a mixture of many building types ranging from small wooden shacks to small apartment houses and flats to individual single family houses.
The construction of this house and the others of the row was the result of a restrictive agreement between the developer Edward Kilpatrick and the adjacent Scotch Presbyterian Church, an agreement which helped insure the survival of the houses. The use of light-colored Roman brick, stone and terra cotta and neo-Renaissance detail reflects the fashion for simplicity and discretely applied ornament, as in the classically-inspired carved ornament of the oriels.
The overall design composition of the house is part of an A-B pattern with an alternating rhythm of oriels. This treatment adheres to a tradition set with the houses Henry Hardenburgh designed for Edward Clark in 1882 on West 73rd Street.
Development of Central Park West
Central Park West, the northern continuation of Eighth Avenue bordering on the park, is today one of New York's finest residential streets, but in the mid-nineteenth century it was a rural and inhospitable outpost, notable for its rocky terrain, browsing goats and ramshackle shanties.
With the creation of Central Park in the 1860s, according to the 1857 design of Frederick Law Olmstead and Calvert Vaux, followed by Riverside Park , as well as a series of transportation improvements such as the Ninth Avenue Elevated Railroad , the Upper West Side experienced a period of intense real estate speculation. The 1880s were the first decade of major development, and generally set the pattern for the Upper West Side, where rowhouses line the side streets, and multiple dwellings, commercial and institutional structures are sited on the avenues, although Central Park West was an exception
Not surprisingly, those avenues closest to the parks, Central Park West and Riverside Drive, were immediately considered the most desirable.
The potential of the parkside avenues for development as prime locations led to an anticipatory increase in land values; prices rose to such extravagant heights that many speculative builders shied away from row house and tenement construction, from which they would realize relatively meager returns, while the very wealthy, who could afford to build mansions, for the most part remained on the more fashionable East Side.
As a result, the development of Central Park West, as well as immediately adjacent side street parcels, lagged behind the general development of the Upper West Side. In early 1893, Central Park West was described as another of the undeveloped avenues on the West Side. It fell asleep waiting for its possibilities. Scarcely anything was done on the avenue during [1891 - 92], certainly nothing of a determining nature. High prices and the lack of restrictions hold the thoroughfare from the builder's hand.
The stage had been set by two great monuments, the American Museum of Natural History between 77th and 81st Streets, , and the Dakota, the pioneering luxury apartments at 72nd Street . Yet a survey of roughly a decade later revealed that more than half the block fronts along the park from 60th to 96th Streets remained vacant or contained only old, modest frame houses.^
A few rather unprepossessing apartment hotels were constructed, among them the San Remo at 75th Street, designed in 1890 by architect Edward Angell, the Beresford at 81st Street, and the Majestic just south of the Dakota. Five-story flathouses were another residential building type. The same 1893 commentary suggested: "The improvements on the avenue thus far seem to point to its being occupied, from a residence point of view, mainly by first-class flats and apartment hotels. . . . A number of handsome residences will no doubt also creep in here and there."
Among the "handsome residences" built on Central Park West during this period were three group of rowhouses -- 235-239 Central Park West, five houses at the southwest corner of 84th Street, none of which survive; 241-249 Central Park West , nine houses between 84th and 85th Streets of which three survive; and 351-355 Central Park West , all of which survive. It was not until the turn of the century that Central Park West's construction boom began and it emerged as a boulevard of elegant tall apartments punctuated by impressive institutional buildings, thus making the five houses at 351-355 Central Park West -- constructed before the avenue's future was determined and when large sections of the avenue and the Upper West Side were still open land - - rare survivors of the earliest development of Central Park West.
The Development of the Houses at 351-355 Central Park West
Like many rowhouses built on the Upper West Side and other rapidly developing areas of the city in the 19th c entury, the five rowhouses at the northwest corner of Central Park West and 95th Street were constructed as a speculative development, in this case for sale to prosperous middle-class families.
The builder-developer Edward Kilpatrick , born in Ireland, immigrated to the United States at the age of 11 and learned the carpenter's trade. In the late 1860s Kilpatrick worked as a building subcontractor, establishing himself as a builder and developer on the Upper West Side by the 1880s. In the early 1890s Kilpatrick set up a lumber yard and factory for the making of interior trim at 42 West 67th Street. By this time he had under construction ten houses on the south side of 96th Street between Central Park West and Columbus and thirteen houses on West End Avenue between 97th and 98th Streets.
Kilpatrick's 96th Street site was adjacent to a parcel of land on Central Park West which extended along the blockfront between 95th and 96th streets, 201 feet, 4 inches long and 100 feet deep.
The Scotch Presbyterian Church was interested in the site and wished to build both a new church building and a school building. The church and Kilpatrick entered into an agreement in July 1892 to allow him to develop the southern portion of the Central Park West frontage with the proviso that as long as nothing was built on the church's Central Park West parcel except the church edifice and one private one-family dwelling , Kilpatrick would restrict construction on his parcel to "private dwelling houses of not more height than four stories with basement and designed for the use of one family."^
Because of these restrictions the houses would be lower than the adjacent church tower. The rowhouse commission was given to Gilbert A. Schellenger, who also worked with Kilpatrick on other Upper West Side projects, and construction was completed in June 1893.
Kilpatrick began to sell the houses in March 1894: No. 351 to John G. Gerken, sold again to tobacco merchant and manufacturer Solomon Schinasi in 1903; No. 352 to Emilie Schumacher; No. 353 to James P. Cahen; No. 354 to Julius P. Cahen; and No. 355 to Catherine C. Carroll. The restrictions governing the church and Kilpatrick were also contained in the deeds and ultimately helped insure the survival of the houses.
Gilbert A. Schellenger
The education, training, and background of Gilbert A. Schellenger are obscure, but he was a major contributor to the development of the Upper West Side. Based on records of his work as listed in the Department of Buildings he was active between about 1882 and 1904 and specialized in residential architecture, designing rowhouses, tenements, flathouses, and small apartment buildings.
A skilled designer, he followed contemporary stylistic trends: Romanesque Revival in the 1880s and early 1890s; Queen Anne in the late 1880s; neo-Renaissance in the 1890s; and Beaux-Arts at the turn of the century. His rowhouse designs may be found on the Upper East Side, in Carnegie Hill and Harlem, while examples of his apartment houses may be seen in Greenwich Village. He was particularly active on the Upper West Side; over 200 buildings designed by him remain extant.
These were usually not single buildings designed in isolation but rows of houses or groups of tenements. Occasionally, as in the group of eight houses and three tenements seen at the southeast corner of 69th Street and Columbus Avenue, he designed the two building types in conjunction. Four houses of Schellenger's design, Nos. 17-23 West 95th Street, were under construction when he received the Central Park West commission.
These 95th Street houses employ both Romanesque Revival and neo-Renaissance detail , are faced in brownstone, and have facades dominated by their oriels. Other examples of his work designed in 1891/92 are similar. These include a group of tenements at 448-454 Amsterdam, and rows of houses at 27-51 West 70th Street, 8-20 West 71st Street, and 14-16 West 82nd Street.
The Design of the Houses at 351-355 Central Park West
Schel lenger's Central Park West group may be seen as a continuation and outgrowth of his earlier rowhouse designs. There is a shift in materials, light-colored Roman brick rather than brownstone, , in keeping with the new contemporary preference for lighter material palates in the wake of the World's Columbian Exposition.
The detail is neo-Renaissance, not used in combination with Romanes que Revival, again reflecting the current fashion for simplicity and discretely applied ornament, as seen in the classically-inspired carved ornament of the oriels and double-arched corner house entrance. All of the houses feature prominent oriels. Four of the five houses were designed to be four stories above high basements with entrance stoops from Central Park West . In their overall design composition, they are grouped in an A-B pattern with an alternating rhythm of oriels.
This treatment adheres to a tradition set with the houses Henry Hardenburgh designed for Edward Clark on West 73rd Street between Central Park West and Columbus Avenue in 1882. The fifth, corner house, No. 351, is five stories with a low American basement and a ground level entranceway on West 95th Street. This kind of corner entrance is rare on the Upper West Side because of the commercial nature of Columbus and Amsterdam, and the redevelopment of many corner sites on West End Avenue with apartment buildings.
Description
This house, an example of the "A" type in the group of four at Nos. 352-355 Central Park West, was designed with four stories above a high basement which was later converted to a ground floor. The ground floor is faced with rusticated limestone and contains two low window openings and a non-original entrance.
The limestone-faced parlor floor contains three arches outlined by a drip molding with foliate corbels, each arch with an arched opening. The one to the right originally contained the entrance and was later converted to a window. The upper three stories are faced with buff-colored Roman brick and dominated by three-sided angled oriel of terra cotta placed in the left portion of the facade.
The oriel rises two stories from a full-width foliate corbel, terminating in a parapet with foliate panels at the base of a wide terra-cotta framed a fourth story window. Single terra-cotta framed window openings are placed to the right of the oriel and the fourth story window. A deep modillioned cornice above a rosette-paneled frieze terminates the facade.
- From the 1987 NYCLPC Landmark Designation Report
M42 Orion Nebula central region photographed in 3 emission lines: Ha at 656nm (900 seconds), SII at 672nm (1560 seconds) and OIII at 501nm (2220 seconds). Night of 28 January 2019, London UK.
Scope: SW 150mm/F5 achromat refractor at prime focus
Camera: 1004x monochrome PAL board camera, long exposure modified
Imges aligned, stacked and stretched in registax, further processed in Photoshop Elements
NON-NUCLEAR COMPONENT STORES BUILDING 61 –
Building 61 (Drg No. 1245/53) is a Non-Nuclear Component Stores with attached concrete gantry on four columns projecting over the road to the front (west). Reasons for Designation Building 61 is designated at Grade II for the following principal reasons:
▪︎RARITY – A rare building on a unique site designed to accommodate and service Britain's first nuclear weapon, the ''Blue Danube''. It is the only such surviving facility in the country.
▪︎HISTORICAL ASSOCIATION – The building has outstanding national and international interest for its historical associations with the development of the earliest British nuclear weapons technology during the Cold War, which helped shape Britain's post-war history.
▪︎GROUP VALUE – The building has strong group value with other buildings at RAF Barnham, and was part of the national deployment of nuclear weapons.
▪︎INTACTNESS – Building 61 is largely intact.
Non-nuclear component stores buildings 60 and 61, held the high explosive part of the bomb and its outer casing. The central section of the casing held the high explosive lenses assembled into a large ball with forward sections containing electronics and radars. Owing to the weight and size of ''Blue Danube'', the gantry at the entrance was required to manoeuvre the bomb onto a trolley for storage. Building 61 is currently used as small work units and has blockwork partitioning which is reversible.
▪︎MATERIALS – A reinforced concrete frame and blockwork walls, and a flat concrete roof. ▪︎PLAN – Rectangular, aligned approximately east-west.
▪︎EXTERIOR – Building 61 is surrounded by substantial earth bunds. It has a central recessed entrance flanked by two projecting two storey, flat roofed plant and switch rooms which originally contained plant to maintain a stable environment. The original steel doors remain. The rear elevation has a central door and there are crittall windows to the rear and sides.
▪︎INTERIOR – Originally sub-divided internally into compartments of 11ft x 3ft bays allowing the storage of up to 66 bombs, Building 61 has been partitioned internally to create smaller work units.
Although the site was in use for storage of Mustard Gas and explosives during World War II, it was not until after the end of hostilities that the depot was constructed in its current form. In the early 1950's, the Air Ministry had a continuing need for high explosive bombs and storage facilities for them and was looking ahead to a ''future war in which atomic and thermo-nuclear weapons would be used by both sides''. It is within this historic context that the Special Storage Unit at RAF Barnham was constructed following the issuing of ''Blue Danube'', Britain's first nuclear bomb, to the RAF in November 1953.
The bombs were held in clutches in V-bomber airfields such as RAF Scampton and RAF Wittering and the purpose of the store at RAF Barnham, and the almost identical site at RAF Faldingwoth in Lincolnshire, was to provide maintenance and refurbishment to support the airfields and hold spare warheads. The Air Ministry plan for the Store is dated May 1953, although planning for the facility almost certainly had started before this, and it was fully operational by July 1954. In the first phase of works, the fences, earthworks, fissile core storage hutches, inspection buildings and gantries were built by August 1955.
The small arms and pyrotechnics store, barrack accommodation, gymnasium, telephone exchange, meat preparation store and dog compound were erected shortly after to strengthen security. By mid 1955 the double fence was in place, later augmented by the current observation towers erected in early 1959 replacing smaller structures. The Special Storage Unit remained the main holding place for the Mk. 1 Atomic Bomb, under control of Bomber Command until November 1956 when an independent Unit (95 Commanding Maintenance Unit) was formed. During the operational life of the site, second and third generation British nuclear weapons such as ''Red Beard'' and ''Yellow Sun'' were introduced on the site.
By 1962, the site was in decline and the maintenance unit ceased to exist on 31st July 1963. The closure of the station is probably linked to the operational deployment of ''Blue Steel'' from late 1962. The site was sold to the current owners in 1966 and let out for light industrial use. Some of the buildings have been altered and most significantly, one of the non-nuclear stores burnt down in the 1980’s, but there has been an on-going maintenance and repair programme agreed with English Heritage resulting in the preservation of the site.
The hand truck is the main component in system for holding plywood in place during and after a cut. It acts as an extension of the Workmate worktable (black legs).
In this shot, the cutting has been done: two cuts have created a square piece of plywood that is separate from the main piece (under the saw). So why doesn't the square piece fall to the ground? It doesn't fall because it is clamped to the top edge of the 2x6, which in turn is clamped to the hand truck.
The top of the 2x6 is the same height as the top of the Workmate worktable.
Easily disassembled and stored.
What's inside a 16-inch (406 mm) shell.
US Battleship Iowa, a museum ship in the Port of Los Angeles, California. This battleship was launched in 1942, saw service in World War II, the Korean War and the later stages of the Cold War. She has been at this location as a museum ship since 2011. Visit of June 18, 2015.
El reconocido tenor pehuenche Miguel Ángel Pellao ofreció la tarde de ayer domingo un emotivo concierto gratuito el Teatro Municipal de Temuco, organizado por la Corporación ENAMA. El destacado cantante lírico -verdadero embajador cultural del pueblo mapuche- fue acompañado por su esposa, la destacada pianista chilena Astrid Arredondo.
El numeroso público asistente pudo disfrutar desde obras de Giuseppe Verdi y Giacomo Puccini, hasta una canción en mapudungun de la artista mapuche de Argentina, Beatriz Pichimalen, de quien Miguel Ángel se declaró un admirador. El artista, que se sobrepuso a un resfrío producto del cambio de clima a su arribo a Temuco, no ocultó su emoción tras su primera presentación en Temuco.
"Estuvimos a punto de suspender debido a problemas de salud pero gracias a los newen (fuerzas) de la tierra pudimos compartir esta gala con un público maravilloso. Es primera vez que canto para mi gente en Temuco y en una fecha de tanto significado, eso para mi es especial y agradezco a ENAMA por la invitación", señaló.
"Esto es un pequeño paso para reunir a las comunidades y al pueblo mapuche en general", agregó Pellao. "Yo vivo en Italia, pero me considero un werken, un embajador de las culturas originarias, y espero que esto sirva de ejemplo para seguir abriendo puertas a tantos jóvenes mapuches que tienen mucho talento", señaló el joven tenor, originario de la comunidad Callaqui en el Alto BioBio.
El presidente de ENAMA, Hugo Alcaman, complementó que se trató de un hecho inédito, ya que se realizó una fiesta mapuche en un lugar tradicional de las artes doctas de la capital regional.
"Esto es un entendimiento cultural, que es justamente lo que busca nuestra Corporación. Un encuentro entre dos culturas, sabidurías y formas de ver el mundo. Acá, un cantante lírico que triunfa en los escenarios del extranjero nos unió cantando en mapudungun, español e italiano. De estas diferencias podemos construir una sociedad multicultural", indicó.
"Miguel Ángel nos permite ampliar el horizonte de una celebración que debiera ser de todos quienes habitamos en el hemisferio sur", señaló por su parte Pedro Cayuqueo, vicepresidente de ENAMA. "El Wiñoy Tripantu tiene un componente cultural, religioso, muchos de nosotros estuvimos celebrando en familia en estos días, en la comunidad, como mandata la tradición. Pero también es un día de celebración de todos y que mejor que las artes y la música como invitación para hacerlo juntos, sin distinciones", subrayó.
"El tenor Miguel Ángel Pellao es un orgullo para el pueblo mapuche pehuenche, que junto a su esposa nos deleitó con canciones maravillosas, celebrando el We Tripantü de una manera diferente, con personas que nos visibilizan en todo el mundo como país y como región multicultural", indicó por su parte Jorge Retamal Rubio, director nacional de la CONADI, institución que auspició el evento.
Fiber optic passive components are an important part of fiber optic communication systems. Classified by function, there are fiber optic connectors, fiber optical adapters, optical attenuators, optical isolators, and optical circulators.
Optical fiber communication systems are developing towards access networks, broadband networks, dense wavelength division multiplexing systems, and all-optical networks, placing new and higher requirements on the technology of fiber optic passive devices.
Therefore, how to grasp the technical development direction of optical passive components to meet the needs of the market has become a concern of the industry.UnitekFiber provides fiber optical components. Our components are including fiber optic connectors, fiber optic adapters, attenuators etc..With reliable quality control system for connectors ceramic ferrules and ceramic sleeve warranting stable performance at fiber optical network construction.