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Dos componentes de la Patrulla Aspa realizan un cruce durante el Festival Aereo celebrado con motivo del 25º Aniversario de la Academia Básica del Aire
Inger Andersen, directora ejecutiva del Programa de las Naciones Unidas para el Medio Ambiente (PNUMA), y el ministro de Ambiente y Desarrollo Sostenible, Carlos Eduardo Correa, entregaron hoy, en la Sierra Nevada de Santa Marta, certificados de capacitación a 21 viveristas de la comunidad indígena arhuaca, que se formaron en viverismo, estrategias de restauración ecológica, ecología de especies a establecer, monitoreo y reporte de información.
El ministro Correa dijo que, para el Gobierno Nacional, y en especial para el Ministerio de Ambiente y Desarrollo Sostenible, lo importante en materia ecológica es la conservación de los ecosistemas, la protección de los recursos naturales en general y la mitigación de los efectos del cambio climático, entre otros propósitos.
“Todos los pasos que damos los estamos dando junto a las comunidades, respetando sus tradiciones y cultura. Una de las apuestas que más promovemos es la de la educación ambiental, para que entre todos le aportemos a nuestra biodiversidad y al planeta, de ahí la importancia de preparar a las comunidades, como esta de nuestra Sierra Nevada de Santa Marta. Hoy hay veintiún nuevos viveristas que se convierten en gestores con mayor conciencia en favor de la naturaleza”, expresó el ministro.
El ministro agregó que muy pronto se verán los resultados y que ya los viveros se están construyendo. “Ya comenzamos los procesos de restauración. Aquí respetamos la cultura ancestral y la espiritualidad. Así que juntos vamos a poder restaurar y recuperar, trabajar en esa crisis que tenemos hoy de pérdida de biodiversidad y de cambio climático”, dijo.
La iniciativa y sus componentes
Estas capacitaciones hacen parte del proyecto Müse’si, que nació de un convenio firmado por el Minambiente y Conservación Internacional, y que consta de cuatro componentes: conocimiento, desarrollado a través de talleres de socialización y concertación del proyecto con las comunidades; restauración, con la construcción de 445 viveros familiares y el Vivero Comunitario de Gunmaku; intercambio de capacidades, con la formación a miembros de la comunidad en la construcción y operación de viveros, propagación, siembra y monitoreo del material vegetal, e instrumentos económicos, que se refiere a la cuantificación, análisis y resultados de captura de CO2 por medio de las acciones de la iniciativa.
“Ellos nos abrieron sus corazones”
El proyecto ya logró la construcción del Vivero Comunitario Gunmaku; este, y los otros que se construirán en el marco del convenio, aportarán más de 700.000 plántulas, integrando a la comunidad económicamente y aportando conocimientos ancestrales.
Inger Andersen, directora del PNUMA, manifestó: “Hemos tenido una increíble visita a la comunidad arahuaca. Ellos nos abrieron sus corazones, sus mentes y su hogar, este hermoso bosque, y nos mostraron lo que están haciendo, su restauración ecológica. Están recuperando la naturaleza no solo porque se los piden, sino porque cuando uno protege la naturaleza, la naturaleza nos protege. Ellos no solo la están protegiendo para ellos, para sus fuentes hídricas, sino que lo hacen por todos nosotros. Son una comunidad increíble con un alma y un espíritu muy profundos”.
La directora agregó: “Qué esfuerzo, estoy muy agradecida de haber tenido esta oportunidad. Agradezco al ministro de Ambiente, Carlos Correa, y a todos los que hicieron esto posible, y agradezco, sobre todo, a esta hermosa comunidad que visitamos”.
En la Sierra, el ministro Correa le contó a la directora del PNUMA que este es uno de los proyectos insignia de la meta de 180 Millones de Árboles. “Con esta alianza que hemos hecho con Conservación Internacional, estamos logrando la vinculación directa de las comunidades nativas de uno de los ecosistemas más especiales del mundo, la Sierra Nevada de Santa Marta. La participación comunitaria es un componente vital en un proyecto de restauración ecológica, porque genera un sentido de apropiación del proceso y mejora sus posibilidades de sostenibilidad a largo plazo. Adicionalmente, estamos aportando a la reactivación económica del país, teniendo en cuenta los recursos que llegarán directamente a las comunidades”, dijo.
La Sierra, un símbolo
En palabras de José Raúl Torres, coordinador del proyecto, la comunidad logró que su conocimiento tradicional sea la base para llevar a cabo Müse’si. “Las actividades que se están desarrollando tienen un enfoque propio, el cual hace que la restauración sea distinta en la Sierra. La Sierra simboliza lo que somos nosotros, es el pulmón del mundo. ¡Si la Sierra respira bien, todos vamos a respirar mejor!”, afirmó.
A su turno, Fabio Arjona, director de Conservación Internacional Colombia, recordó que müse’si es una palabra que integra muchas cosas, entre esas, levantarse y restaurar. “Ya tenemos la tarea bastante avanzada. Lo más importante es la participación de la comunidad, todas las familias involucradas, los mismos habitantes de la Sierra están haciendo la restauración. Con la participación de las comunidades estamos garantizando el éxito de esta restauración”, reconoció. / Mar. 15 y 16, 2022. (Fotografía Oficial Ministerio de Ambiente y Desarrollo Sostenible / Emilio Aparicio Rodríguez).
Esta fotografía oficial del Oficial Ministerio de Ambiente y Desarrollo Sostenible está disponible sólo para ser publicada por las organizaciones de noticias, medios nacionales e internacionales y/o para uso personal de impresión por el sujeto de la fotografía. La fotografía no puede ser alterada digitalmente o manipularse de ninguna manera, y tampoco puede usarse en materiales comerciales o políticos, anuncios, correos electrónicos, productos o promociones que de cualquier manera sugieran aprobación por parte del Ministerio de Ambiente y Desarrollo Sostenible.
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En la imagen se puede ver a los componentes del grupo de 'El Drogas' en los camerinos del Ermua Antzokia.
Fotografía cedida por el fotógrafo local Óscar Blanco Gutiérrez
Adjustable K-MAC top-mounts, rear camber arms, and poly wishbone and RTAB bushes. :) 3-ways to come!
The Nintendo Wii is capable of delivering high-quality graphics with precision and clarity. Use this Component Video Cable to get the most out of your system. This cable will deliver high-quality video signals to your TV, giving you crystal-clear images you'll want to reach out and touch.welcome to:
The flat suction pads SGPN are especially created for handling with various packing materials(plastic foils, paper, blister-packed).
Through his flat, long-tapered sealing lip he has good sealing properties. This flexibility enables the handling of non-rigid packed products.
When lifting the workpiece, the packaging deforms and crinkles occur. These can be reliably sealed by the sealing lip and the workpiece can be transported safely
This exhibition features work by twelve CCA Architecture students in a fall 2017 advanced architecture studio led by Matt Hutchinson and Adam Marcus. The work explores the architectural detail as a locus for reconsidering contemporary domesticity in the context of new technologies of design, fabrication, and assembly.
Jincheng rubber components for infusion and transfusion and burette set ★floating sheet FP-N
♥ Product Description：
☞We can supply rubber parts for medical instruments.☞Rubber floating flake is a component of infusion sets, which floating on the surface of medicine liquid and can block air to the tube. It is designed to protect safe of patients.☞It is used on T-piece as the main adjunct which provides pass and injection port for infusion and transfusion sets.☞Automatic shut off valve prevents air trapping in the fluid line one the measured volume chamber is empty and it also indicates the level of liquid. ☞Material: natural rubber or isoprene rubber☞Color: yellow brown with natural rubber and light yellow with isoprene rubber
[b]About the (conversion) project:[/b]
After a long hiatus an anime character model again! This Rei Ayanami figure was inspired by a photo-realistic illustration I found while browsing A.I.-generated artwork at playground.com, and the respective artwork was created by a prompt from someone called “YCTt”.
I liked the less anime-esque style of the character, and the red-and-white plugsuit design with many colorful contrasts, and saved the artwork as an inspiration – until I recently felt the urge to build “something different” from my usual what-if military vehicles and went through my stock of resin anime character kits to find a suitable “canvas”.
I eventually settled upon a 1:6 scale model of Rei Ayanami in her authentic white plugsuit, even though it’s a more anime-ish rendition and not so “realistic” as the A.I. illustration. The kit is just a recast and I had preferred a smaller scale, but I found that the figure’s upright standing pose and the plugsuit’s rather simple style would be a good starting basis.
The parts were cast well, without bubbles and with almost no seams, but details and edges not particularly crisp. The white resin material was not very dense either, everything felt light and a bit delicate – but not brittle. However, the kit was quite cheap, and you get what you pay for – and that was/is not bad at all, esp. as a conversion basis.
After cleaning the fit of the major parts (torso and legs were a single piece, and both arms, together with an area of the flanks, cut out along natural seams of the plugsuit) turned out to be very good, so that the arms could be worked on and especially painted separately, to be assembled later without PSR!
For display I built a neutral 4x4” base from a piece of laminated chipboard, pimped with edge band. A 2.5mm iron wire was mounted as a figure holder, and the same material was also used to strengthen the connections of the figure’s major components. Once completed the base was painted with semi-matt acrylic black paint from a rattle can.
The figure was built mostly OOB, I just made some minor tweaks. One fundamental thing I changed was the head position. The original figure looks over the left shoulder, but I wanted to present her later in a frontal view, so that the eyes should rather look forward. That was not so easy to realize, because the neck had to be modified, with a wedge-shaped plug under the chin to lift the face into a proper new position. This was sculpted with 2C putty around the head’s iron wire connector and some fine acrylic putty for a smooth finish.
From that point on head and body developed separately. The boxy things under the breast were removed, and instead I sculpted a W-shaped ledge, again with 2C putty, to come closer to the A.I-generated, somewhat “cleaner” version of the plugsuit.
The head was taken OOB, but the eyes required some attention, because they were sculpted in a rather protruding fashion, and overall it did not have much resemblance to the original character. However, I did not dare to take the risk of physically modifying the eyes and the IMHO too pronounced lips – a decision that later turned out to be better than expected (if you do not cling too much to the real Rei Ayanami character and her traits).
Head, body and arms were worked on and painted separately – the arms made it insofar easy as they were molded with the body’s armpit sections, using natural edges of the plugsuit to hide the kit’s seams.
Painting started with an overall coat of grey acrylic primer on everything, followed by a foundation with RAL 9002 (Grauweiß) on arms and body, plus some Tamiya TS-26 (Pure White) post-shading “from above” to support light effects. This was not really necessary, though, because the figure is at 1:6 scale (1’ tall!) large enough to produce realistic light and shade effects on its own.
In the meantime the face was spray-painted with a foundation in Tamiya TS-77 (Flat Flesh) and some shading with Vallejo “Pale Flesh” from a rattle can. The lip’s line was laid out with thinned Humbrol 70 (Brick Red), and at first I painted the lips themselves in a rather dark and reddish skin tone – but that looked too exaggerated and obtrusive, esp. for Rei’s introvert and reclusive character. This was later changed to a much lighter skin tone, similar to the rest of the face.
The eyes were experimentally created with the help of decals; I had ordered a set of generic anime eye decals of various sizes and colors before the build, and luckily there was a pair of suitably red female eyes in the set that I tried. To make them fit properly onto the face I separated the yes from their brows, though, and the rather tall eyes had to be trimmed to fit on/into the sculpted eyes sockets in the resin face. Weird task, but it wok4ed better than expected, also because of a rather sturdy but flexible clear carrier film, reminiscent of vintage Matchbox kit decals.
However, this was not the end concerning the eyes: I added some eyelashes and eyelids with black paint, some lighter red sections to the pupils and small white light reflexes. In the end the combined method of decals plus painting worked well, with a presentable result.
After the face had been finished it was sealed with matt acrylic varnish and the “hair helmet” had to be mounted and PSRed around it – another delicate task, followed by paint work on the pale blue hair for which I used Humbrol 47 as basis, mixed with Cobalt Blue for some deeper areas and hair strands and with some white for highlight, tips and an artificial light reflex halo around the upper head, frequently seen on the animated character.
In the meantime body and arms received contrast areas in deep red (Revell 34), Garter Blue (Humbrol 221) and Oxford Blue (Humbrol 104). This stunt required a lot of masking, and the demarcation lines between the red and the white sections on torso and legs were later added with generic 2mm black decal stripes. After a light black ink washing to emphasize edges and recesses the suit’s wrinkles were post-shaded with lighter shades of their foundations – only as a subtle effect to add a bit more materiality to the figure. The “00” on the breast was created with 45° USAF letters from an aftermarket decal sheet, while the large “0” on the backpack was laid out manually with black acrylic paint.
A lot of detail paint and corrections followed, everything was sealed with a coat of matt acrylic varnish, and the figure was finally assembled.
A tough project, and at first I was a bit disappointed by the kit’s face which does not resemble the anime Rei Ayanami at all. However, once completed, the face and the figure’s expression matches the A.I.-generated, rather realistic picture of the character more than expected, as if the figure would rather be a physical model of that picture than of the “real” anime Ayanami. Odd, but a pleasant and conciliatory outcome of a quite challenging conversion project. And the colorful plugsuit variant looks pretty good, too.
With the Component + Digital Audio to HDMI Adapter legacy home theater devices can be easily connected any HDMI display for the full digital video and audio experience
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The blue image is kind of surprising. The yellow “Sun” filter filters almost all of the blue light, and the B component looks almost black, but when you enhance it you see this.
This is most likely due to the camera's JPEG compression dropping the blue information inside the disk of the sun where the red and green components are so much stronger. The “corona” effect would just be glare that hasn't been zeroed. Unfortunately, this camera doesn't have a “raw” mode.