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I hate when I finish a gig and have henna left over that I might have to throw out. When I got home all the neighbors were hanging out, one of whom I promised to henna. I did her feet (awesome yellow nail polish!) and then hennaed more and more neighbors. Everyone was saying that they might tattoo right over the design but the proof of that is in the ink. Afterwards we all cooked dinner, talked sex and politics as the sunset. Sigh!
Now rotate the miter gauge 180 degrees and put it in the right hand slot. Flip the board over and make the second cut. The piece being cut off now has it's INSIDE face up.
This method does not waste any wood, but every other piece has it's face side reversed which may be a concern if you're matching grain.
After all the pieces were cut out I ran them through the saw a second time with a stop block clamped to the miter gauge to ensure they were all the same width.
The final step in fabricating the four sides is to tilt the saw blade to the slope angle (15 degrees in this case) and bevel the top and bottom of each piece. I used the table saw fence to guide this, but watch out for kickback.
compound 1141 pilots jubilee 5611 hong kong as they take the settle route at carlisle with a glasgow-leeds train probably just post war
This is the opposite corner of the block. The layout lines go all the way around.
I made several of these blocks before I got the angles dialed in right.
DAKSHINESWAR KALI TEMPLE
Dakshineswar Kali Temple is a Hindu temple located in Dakshineswar near Kolkata. Situated on the eastern bank of the Hooghly River, the presiding deity of the temple is Bhavatarini, an aspect of Kali, meaning, 'She who liberates Her devotees from the ocean of existence i.e. Saṃsāra'.[1] The temple was built in 1855 by Rani Rashmoni, a philanthropist and a devotee of Kali. The temple is famous for its association with Ramakrishna, a mystic of 19th Century Bengal.[2][3]
The temple compound, apart from the nine-spired main temple, contains a large courtyard surrounding the temple, with rooms along the boundary walls. There are twelve shrines dedicated to Shiva—Kali's companion—along the riverfront, a temple to Radha-Krishna, a bathing ghat on the river, a shrine dedicated to Rani Rashmoni. 'Nahavat-Khana', the chamber in the northwestern corner just beyond the last of the Shiva temples, is where Ramakrishna spent a considerable part of his life
The Dakshineswar Kali Temple was founded around the middle of the 19th century by Rani Rashmoni.[5] Rani Rashmoni was a Mahishya by caste[6] and was well known for her philanthropic activities. In the year 1847, Rashmoni, prepared to go upon a long pilgrimage to the sacred Hindu city of Kashi to express her devotions to the Divine Mother. Rani was to travel in twenty four boats, carrying relatives, servants and supplies.[4] According to traditional accounts, the night before the pilgrimage began, Rashmoni had a vision of the Divine Mother, in the form of the goddess Kali in a dream and reportedly said,[7]
There is no need to go to Banaras. Install my statue in a beautiful temple on the banks of the Ganges river and arrange for my worship there. Then I shall manifest myself in the image and accept worship at that place.
Profoundly affected by the dream, Rani immediately looked for and purchased a 20-acred plot in the village of Dakshineswar. The large temple complex was built between 1847 and 1855. The 20-acre (81,000 m2) plot was bought from an Englishman, John Hastie and was then popularly known as Saheban Bagicha,[8]partly old Muslim burial ground shaped like a tortoise, considered befitting for the worship of Shakti according to Tantra traditions, it took eight years and nine hundred thousand rupees to complete the construction, and finally the idol of Goddess Kali was installed on the Snana Yatra day on 31 May 1855, amid festivities at the temple formally known as Sri Sri Jagadishwari Mahakali, with Ramkumar Chhattopadhyay as the head priest; soon his younger brother Gadai or Gadadhar (later known as Ramakrishna) moved in and so did nephew Hriday to assist him.[1][2][3][4][9] On 31 May 1855 more than 1 lakh Brahmins were invited from different parts of the country to grace the auspicious occasion. The next year, Ramkumar Chhattopadhyay died, the position was given to Ramakrishna, along with his wife Sarada Devi, who stayed in the south side of the Nahabat (music room), in a small room on the ground floor, which now a shrine dedicated to her.[citation needed]
From then until his death 30 years later in 1886, Ramakrishna was responsible for bringing much in the way of both fame and pilgrims to the temple.[10]
Rani Rashmoni lived only for five years and nine months after the inauguration of the temple. She seriously fell ill in 1861. Realizing that her death was near she decided to handover the property she purchased in Dinajpur (now in Bangladesh) as a legacy for the maintenance of the temple to the temple trust. She accomplished her task on 18 February 1861 and died on the next day.
By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
The next corner of the block.
I found it was easier and more accurate to lay out the lines by measuring and calculating rise and run rather than use a protractor.
A Sketchup model of the jig spacer block. Angles for this 15 degree project are 3.8 degrees on the long side, 14.5 degrees on the short edge.
The dimensions shown are approximate due to Sketchup limitations.
Since the stacked Dado set cuts a square bottomed slot, but the edge parallel fingers require a trapezoidal hole, there is a small triangle of material that must be removed from each of the slots by hand.
Here I am knifing the edge of the triangular area.
The dado stack has to be tilted to match the side angle. This aligns the slot with the top and bottom surface of the work piece. For this 15 degree side slope project, the angle is 14 1/2 degrees off vertical.
An additional complication is, now that the dado is angled, the slot will be slightly wider than the stack width. Box joints depend on the slot being exactly the same width as the pin, so the pin size has to be increased to match. For this 15 degree project, I added 0.012 shims to the dado stack and increased the pin cycle by 1/16 inch. It came out pretty close.
Here the two halves of the block have been smoothed, and pegs added so they will plug into my box joint jig.
Note the orientation. The block on the left will go against the jig on it's square face. The block on the right plugs into the jig on it's sloping face.
My best friend of 74 years - we met in the first grade - has been hospitalized for months. He was on his daily walk at 5:30 in the morning in Seattle where he lives when he was struck by an automobile. And, he was on the sidewalk! Compound fractures in both legs, broken ribs, crushed pelvis, etc. That was in late winter. But he is very strong and came home today! Here are the pages of a journal we began in May. I live in Florida, so there is a gap between the pages each of us completes. The pages are numbered, so you can follow the sequence to date. I received the journal in today's mail, so I will be getting to work on number seven.....
Here another version of yesterday´s robberfly photo... just for a better view of the robberfly´s compound eye
If you have time, check this: Compound Eye.
Camera Canon PowerShot SX30 IS
Exposure 0.017 sec (1/60)
Aperture f/8.0
Focal Length 150.5 mm
ISO Speed 80
Digital Zoom Ratio 2.1
Somebody painted my boat red. On second thought, this is a picture of the application of a fairing compound mixed with epoxy that is easily sanded to smooth out all the imperfections of the construction.
9 May 2010 Rainbow trout with plum sauce
Today, for the mother's day, I seized the opportunity to make this dish I tasted a few times ago in this Italian restaurant in Milano: Oste del Teatro.
Unfortunately I'm not such an inventive cook so I searched some 'featured' recipes for the dish and I regret I had many problems in founding anything. The only complete suggestion is this one but it isn't very similar to the one I tasted, therefore here you find the description with my modifications. Even if I don't remember any oriental ingredient in the original course, I decided to keep them into and add st more.
Recipe for 2 servings
2 rainbow trout fillets (in Italy people use to call it 'salmonata' trout because of the rose tone of the flesh after cooking), if you will clean the fish yourself leave the fish skin on one side of the fillets
3 victoria or santa rosa plums, need to be as ripe as possible
red onion (tropea's could be the best choice but it depends on where you are and on season, of course)
2 cloves of garlic
1 apple (I choosed a sweet type like this a general good choice could be royal gala or fuji. I think a sour apple type could turn the sauce into st too bitter.)
fresh ginger
curcuma spice (powder)
paprika (powder)
olive oil
dark soy sauce
white sugar
orange or apple juice
Preparation
First you have to finely mince 1 quarter of a red onion and put it in large frying-pan with 1 flowing tablespoon of olive oil. Add 2 cloves of garlic cutted in halves (an easy way to take them off later), 1 tablespoon of fresh grated ginger and 1 quarter of apple in small minced pieces and 1 tablespoon of soy sauce. Fry all together lightly then lay down the two trout fillets with the skin side down and cover them with the majority of this 'cooking base', and the cover the pan with a lid. The trout usually takes about 20 min to be well-cooked.
Cut the plums in small slices and each slice in halves. Add them to the whole, together with a pinch of curcuma (not too much) and paprika and keep cooking on a low heat. The amount of paprika depends on your taste but I suggest to use a large amount. ( NDA: if your fillets have no skin on the down side, at this time - when partially cooked - you need to gently turn them. If you fortunately found or prepared them leaving the skin you won't have this problem thanks to the 'work' of the lid on the pan ;P ).
When the cooking is gone over 15 minutes and the fish is almost ready, take off about 1/3 of the 'cooking base' (now with plum slices) from the pan and put it in small saucepan with: 1 teaspoon soy sauce, 2 tablespoon orange or apple juice and 3 teaspoon white sugar. Rapidly stir it at medium heat.
Now the trout would have to be ready with its characteristic salmon tone. In the pan you have the rest of the 'garnish' composed by plum pieces and frying base, thanks to the soy sauce and with a low heat cooking it would have become enough dense. Now: one half of this mixture has to be mixed, I used an immersion blndere to do it.
Now bring together the sauce. All very rapidly (because the trout is ready to be eaten).
Put the remaining part in the pan and the mixed part of 'compound' in the saucepan: you will have the fillets with no more garnish. Stir the sauce well and adjust with sugar and paprika if necessary.
That's all. Now serve leaving the sauce on one side of the plate to be used as you like on the trout.
Inside
Inside the three-nave and five-bay nave is still the basilical room scheme of Romanesque to recognize. Round arched diaphragm arches on square pillars with chamfered edges separate the nave from the aisles. The Gothic ribbed vault from the late 14th century rests in the nave on strong pilaster stripes and in the aisles on compound piers and consoles. The ceiling paintings with the lushly curving ornamentation and delicate figure motifs date from the late Gothic period. The second yoke symbolizes the four evangelists, each handing over a Gospel book to a pope or bishop. The sound hole in the middle yoke is surrounded by playing angels. The remaining ceiling paintings mainly consist of flower ornaments.
The west gallery in the nave above groined vault and with an gallery balustrade with tracery was built around 1500. The galleries above the aisles are open in double arcades to the nave yokes and originated either in the Baroque period or only in the 19th century. The side chapels adjoining the first and third yokes are opened by round arches over ornamented pillars. The four single-bay chapels from the late Renaissance are groin-vaulted with decorative ridges. The late-Gothic Saint Katherine's chapel is located on the north side of the fifth yoke and is net-vaulted. Opposite it is a two-bay early Baroque chapel with a groin vault on the south side. The southern aisle contains mural paintings from the 14th century. A round-arched triumphal arch connects the nave and choir. The choir is composed of a Romanesque choir square and a 5/8 choir with Gothic ribbed vault. The four pillars of the Romanesque choir yoke have imposts with chequerwork and in the corners Romanesque sinkers with leaf bud capitals and imposts. The reliefed keystones depict the Lamb of God and the Lion of St. Mark, the consoles in choir polygon depicting heads and animals. The choir conclusion is broken through with five two-lane Gothic tracery windows. In order to produce better light conditions, the colored crown glass windows 1972 were replaced by transparent ones. On the north side of the choir square, there is a window that was once accessible through the Seven-Sorrows-of-Mary chapel and served as a lodge for the owners of the Wolfsberg Castle during the Holy Mass.
Facility
The main altar was made in 1776 by Villach carpenter Johannes Rudolph. In the main picture, dated 1777, the evangelist is drawn out in magical light from the darkness of the background in a writing pose. In a similar technique, the reproduction of the dying Franz Xaver is torn from the darkness in the image of the fixture portray. Painter of the two pictures is the Kremser Schmidt. The altar is flanked by the life-size figures of the apostolic princes Peter and Paul. The two sculptures were created 1773-1777 by Michael Zill. From this artist, the console figures of the saints Heinrich and Kunigunde come on the choir walls.
In the first chapel in the left aisle there used to be an altar, now in the second side chapel.
Between these two chapels in the wall a Lourdes Grotto is embedded.
The second side chapel, also called chapel of Saint Mary, was the family chapel of Bayerhofen and served as a burial place. It was consecrated in 1661 by Lavanter Bishop Maximilian Gandolf. Its altar consists of a simple aedicule and a small attachment of volutes with two niches. The main picture is a copy of 1661 after Veronese's marriage of St. Catherine of Siena. The picture shows Saint Cecilia. Next to them are statuettes of Saints Barbara and Margareta. On the side walls of the chapel are the console figures of Saint Anthony of Padua and a John Nepomuk created by Franz Anton Detl.
The third side chapel is dedicated to Saint Cunegonde. The altarpiece depicts the ordeal of Saint Kunigunde. The picture was created in 1667 by the Antwerp painter J. B. von Rülle and donated by the Bamberg Bishop Philipp Valentin Voit von Rieneck the Minorite Church in Wolfsberg. After its dissolution, the image was transferred from there in 1821 and provided with a frame from the late 18th century.
The first side chapel on the right is dedicated to Saint Valentine. The main picture of the altar was created by the Munich painter Malknecht and shows the miraculous bishop. Below is a Baroque reliquary of 1655, which is said to contain the saint's arm bone. In the side niches of the altar stand the figures of Saints Anna and Joachim.
The Sacred Heart of Jesus in the middle chapel used to be the altar of the sacrament and shows in the main picture a Baroque motif of the Sacred Heart of Jesus from the 18th century. The statues represent the high priests Melchisedech and Aaron and come from a workshop in Val Gardena.
The third side chapel is the All Souls chapel. The altar is decorated with a life-size crucifixion group in front of the painted Jerusalem, including carvings of poor sinners in purgatory.
An important example of Romanesque architecture is the stone relief with the lion of St. Mark and the Head of the Evangelist, immured in the foremost right pillar. It shows similarities with late Romanesque Dalmatian portraits and emerged in the 12th or early 13th century.
Five of the console figures on the pillars of the nave, the saints Joseph, Leonhard, Philip, James the Younger and Nicholas, come from Val Gardena; the sixth, St. Judas Thaddäus from the workshop of Konrad Campidell, was consecrated in 1961.
Organ
The organ was built in 1898 by Martin Hechenberger from Passau and restored in 2010 by the organ builder Kuhn (Männedorf, Switzerland). The instrument has 23 registers on two manuals and pedal.
I major work C-f3
1. Bourdon 16'
2. Principal 8'
3. Filomele 8'
4. Gamba 8'
5. Coppel 8'
6. Octav 4'
7. Flute 4'
8. Reed Flute 4'
9. Mixture III 22/3'
10. Trumpet 8'
II upper work C-f3
11. Echo bass 16'
12. Violin Principle 8'
13. Gemshorn 8'
14. Salicet 8'
15. Lovingly Gedackt 8'
16. Fugara 4'
16th flute traverses 4'
18th Clarinetto 8'
Pedal C-d1
19th violin 16'
20. Subbass 16'
21. Octavbass 8'
22. Cello 8'
23. Trombone 16'
Pairing: I / I (super octave couplers) II / I, I / P, II / P
Aids to execution: Fixed combinations (p, mf, ff, pleno), Kalkantenzug (wind-producing mechanism)
Of the tombs inside the church are the figurative knight grave stone of Christian von Schaumberg (1514) and the one of Anton von Himmelberg (1457) worth mentioning.
Innen
Im Inneren des dreischiffigen und fünfjochigen Langhauses ist noch das basilikale Raumschema der Romanik zu erkennen. Rundbogige Scheidbogen auf quadratischen Pfeilern mit abgefassten Kanten trennen das Mittelschiff von den Seitenschiffen. Das gotische Kreuzrippengewölbe aus dem späten 14. Jahrhundert ruht im Mittelschiff auf kräftigen Pfeilervorlagen und in den Seitenschiffen auf Diensten und Konsolen. Die Deckenmalereien mit der üppig geschwungenen Ornamentik und zarten Figurenmotiven stammen aus der Spätgotik. Im zweiten Joch sind symbolisch die vier Evangelisten dargestellt, die jeweils einem Papst oder Bischof ein Evangelienbuch überreichen. Das Schallloch im Mitteljoch ist von musizierenden Engeln umgeben. Die restlichen Deckenmalereien bestehen hauptsächlich aus Blumenornamenten.
Die Westempore im Mittelschiff über Kreuzgratgewölbe und mit einer Emporenbrüstung mit Blendmaßwerk wurde um 1500 errichtet. Die Emporen über den Seitenschiffen sind in Doppelarkaden zu den Mittelschiffjochen geöffnet und entstanden entweder in der Barockzeit oder erst im 19. Jahrhundert. Die sich am ersten und dritten Joch anschließenden Seitenkapellen sind durch Rundbögen über ornamentierten Pfeilern geöffnet. Die vier einjochigen Kapellen aus der Spätrenaissance sind mit dekorativen Graten kreuzgratgewölbt. Die spätgotische Katharinenkapelle befindet sich nordseitig am fünften Joch und ist netzrippengewölbt. Ihr gegenüber steht südseitig eine zweijochige frühbarocke Kapelle mit Kreuzgratgewölbe. Im südlichen Seitenschiff befinden sich Wandmalereireste aus dem 14. Jahrhundert. Ein rundbogiger Triumphbogen verbindet Langhaus und Chor. Der Chor setzt sich aus einem romanischen Chorquadrat und einem 5/8-Chorschluss mit gotischem Kreuzrippengewölbe zusammen. Die vier Pfeiler des romanischen Chorjoches besitzen Kämpfersteine mit Würfelfries und in den Ecken romanische Absenker mit Knospenkapitellen und Kämpfern. Die reliefierten Schlusssteine zeigen das Lamm Gottes und den Markuslöwen, die Konsolen im Chorpolygon Köpfe und Tiere. Der Chorschluss ist mit fünf zweibahnigen gotischen Maßwerksfenstern durchbrochen. Um bessere Lichtverhältnisse herzustellen, wurden 1972 die farbigen Butzenscheiben durch durchsichtige ersetzt. An der Nordseite des Chorquadrates befindet sich ein Fenster, das einst durch die Siebenschmerzenkapelle erreichbar war und den Besitzern des Schlosses Wolfsberg als Loge während der heiligen Messen diente.
Einrichtung
Der Hauptaltar wurde 1776 vom Villacher Tischler Johannes Rudolph gefertigt. Im mit 1777 datierten Hauptbild wird der Evangelist in schreibender Sitzpose mit magischem Licht aus dem Dunkel des Hintergrunds hervorgezeichnet. In ähnlicher Technik ist im Aufsatzbild die Wiedergabe des sterbenden Franz Xaver dem Dunkel entrissen. Maler der beiden Bilder ist der Kremser Schmidt. Flankiert wird der Altar von den lebensgroßen Figuren der Apostelfürsten Petrus und Paulus. Die beiden Skulpturen wurden 1773–1777 von Michael Zill geschaffen. Von diesem Künstler stammen auch die Konsolenfiguren der Heiligen Heinrich und Kunigunde an den Chorwänden.
In der ersten Kapelle im linken Seitenschiff war früher ein Altar aufgestellt, der sich jetzt in der zweiten Seitenkapelle befindet.
Zwischen diesen beiden Kapellen ist in der Wand eine Lourdes-Grotte eingelassen.
Die zweite Seitenkapelle, auch Marienkapelle genannt, war die Familienkapelle derer von Bayerhofen und diente ihnen als Grabstätte. Sie wurde 1661 vom Lavanter Bischof Maximilian Gandolf geweiht. Ihr Altar besteht aus einer einfachen Ädikula und einem kleinen Aufsatz aus Voluten mit zwei Nischen. Das Hauptbild ist eine Kopie von 1661 nach Veroneses Vermählung der heiligen Katharina von Siena. Im Aufsatzbild ist die Heilige Cäcilia dargestellt. Daneben stehen Statuetten der Heiligen Barbara und Margareta. An den Seitenwänden der Kapelle stehen die Konsolenfiguren des Heiligen Antonius von Padua und eines von Franz Anton Detl geschaffenen Johannes Nepomuk.
Die dritte Seitenkapelle ist der Heiligen Kunigunde geweiht. Das Altarbild zeigt die Gottesurteilszene der Heiligen Kundigundis. Das Bild wurde 1667 vom Antwerpener Maler J. B. von Rülle geschaffen und vom Bamberger Bischof Philipp Valentin Voit von Rieneck der Wolfsberger Minoritenkirche gestiftet. Nach dessen Auflösung wurde das Bild 1821 von dort übertragen und mit einem Rahmen aus dem späten 18. Jahrhundert versehen.
Die erste Seitenkapelle auf der rechten Seite ist dem Heiligen Valentin gewidmet. Das Hauptbild des Altars wurde vom Münchner Maler Malknecht geschaffen und zeigt den wundertätigen Bischof. Darunter befindet sich ein barocker Reliquienschrein von 1655, der das Armbein des Heiligen enthalten soll. In den Seitennischen des Altars stehen die Figuren der Heiligen Anna und Joachim.
Der Herz-Jesu-Altar in der mittleren Kapelle diente früher als Sakramentsaltar und zeigt im Hauptbild ein barockes Herz-Jesu-Motiv aus dem 18. Jahrhundert. Die Statuen stellen die Hohen Priester Melchisedech und Aaron dar und stammen aus einer Grödener Werkstatt.
Die dritte Seitenkapelle ist die Allerseelenkapelle. Der Altar ist mit einer lebensgroßen Kreuzigungsgruppe vor dem gemalten Jerusalem ausgestattet, darunter Schnitzfiguren von armen Sündern im Fegefeuer.
Ein bedeutendes Beispiel der Romanik stellt das Steinrelief mit dem Markuslöwen und dem Haupt des Evangelisten dar, das am vordersten rechten Pfeiler eingemauert ist. Es zeigt Ähnlichkeiten mit spätromanischen dalmatischen Bildnissen und ist im 12. oder im beginnenden 13. Jahrhundert entstanden.
Fünf der Konsolenfiguren an den Säulen des Mittelschiffes, die Heiligen Josef, Leonhard, Philippus, Jakobus der Jüngere und Nikolaus, stammen aus Gröden; die sechste, der Heilige Judas Thaddäus aus der Werkstatt von Konrad Campidell, wurde 1961 geweiht.
Orgel
Die Orgel wurde 1898 von Martin Hechenberger aus Passau gebaut und 2010 von der Orgelbaufirma Kuhn (Männedorf, Schweiz) restauriert. Das Instrument hat 23 Register auf zwei Manualen und Pedal.
I Hauptwerk C–f3
1.Bourdon16′
2.Principal8′
3.Filomele8′
4.Gamba8′
5.Coppel8′
6.Octav4′
7.Flöte4′
8.Rohrflöte4′
9.Mixtur III22/3′
10.Trompete8′
II Oberwerk C–f3
11.Echobass16′
12.Geigenprincipal8′
13.Gemshorn8′
14.Salicet8′
15.Lieblich Gedackt8′
16.Fugara4′
16.Flöte travers4′
18.Clarinetto8′
Pedal C–d1
19.Violon16′
20.Subbaß16′
21.Octavbass8′
22.Cello8′
23.Posaune16′
Koppeln: I/I (Superoktavkoppel)II/I, I/P, II/P
Spielhilfen: Feste Kombinationen (p, mf, ff, pleno), Kalkantenzug
Von den Grabmälern im Inneren der Kirche sind der figürliche Rittergrabstein des Christian von Schaumberg (1514) und der des Anton von Himmelberg (1457) erwähnenswert.
de.wikipedia.org/wiki/Pfarrkirche_Wolfsberg_(K%C3%A4rnten)
Leaving Kontagora in the early morning, we drove towards a Kambari / Kamberi settlement near Genu. The road quality became progressively and we finally abandoned our vehicle at Genu and walked the rest of the way to our destination.
The Kambari are an ethnic group that are much smaller than Nigeria's well known Hausa, Yoruba and Igbo/Ibo. Their belief system is usually referred to as animist (the region around Kontagora in northwestern Nigeria predominantly follows Islam) and many live in villages and settlements some distance from the main roads. Many of the women maintain their traditional style - jewelry, tattoos, brightly coloured textiles (and unlike their neighbouring cultures, they frequently do not cover their upper bodies when in their villages) - a trait that was less apparent among the men. They live off agriculture and sell their produce also to neighbouring towns and villages. The most popular crops produced are corn, millet, peanuts, beans, and rice. Nearly all of the locals keep chickens and goats for meat while the richer ones have cattle.
Marines with 1st Platoon, Fox Company, 2nd Battalion, 2nd Marine Regiment, search compounds near Patrol Base Boldak during Operation Grizzly IV July 29. Operation Grizzly was a counter-insurgency operation to deter enemy activity, establish a presence and gather human intelligence. (Photo by Sgt. Bobby J. Yarbrough)
Three Lawrence Livermore National Laboratory teams are evaluating many elements and compounds in their search for new radiation detection materials. The goal for chemist Nerine Cherepy and her team is to find a high-resolution material that is not radioactive, operates at room temperature, is inexpensive, and can be manufactured in large volumes. After much analysis and elimination—with an array of crystals grown from various compounds by national laboratory, industrial, and university partners—Cherepy and her team narrowed their search to two materials: transparent ceramic gadolinium-based garnets and strontium iodide crystals. SLYNCI, the scintillator light-yield nonproportionality instrument, measures the difference between the energy deposited in a scintillator and the number of protons produced. [More information]
Scientific Name: Eldredgeops rana (formerly assigned to genus Phacops)
Presentation: dorsal side close-up of compound eye lenses
Geologic Time: Middle Devonian Period, 397 - 385 million years ago
Formation: Silica Shale
Location: Paulding County, Ohio
Size of Trilobite: about 5.5 cm or just over 2 inches
Successful organizations (like Apple, Facebook, and Amazon) are not simply innovating along one or two dimensions with their products and services. They have intentionally created compound innovation models to evolve and disrupt the existing experience ecosystem along multiple dimensions simultaneously.
Read more at: Compound Innovation Models
Campal parade grounds.
Road extension work
Parking on footpath near Campal clinic
including Hospital Ambulance
Essentially a 5-door hatchback version of the Mini, designed by the same man and built on the same general principals. Except for the fact that the brakes had a lot to be desired and it suffered from that British Leyland touch of unreliability.
However, the Maxi does have a claim to fame that's very famous, but often overlooked. In November 1979 during the Iranian Islamic Revolution in Tehran, one of the British embassy's first secretaries rescued five American diplomats who had managed to escape the stormed US Embassy in his own private British registered sandglow Maxi 1750HL complete with its GB sticker, once rescued the British secretary then discovered that the British Embassy had now also been overrun, and so undertook a treacherous drive across Tehran to the north of the city to the British compound of Gholhak.
Once at Gholhak, the British diplomats and families smuggled the Americans in the Maxi again to the home of a Thai cook who worked for a member of the US Embassy staff. Ten days later they moved on to the home of the Canadian number two diplomat from where the CIA hatched a plot to rescue their diplomats using Canadian passports and posing as movie makers. This was the basis for the US film Argo (2012). However, in this dramatization, the British role (and subsequently the Maxi's) were written out, as director Ben Affleck stated he wished to make the escaped diplomats look helpless and desperate to the studio audience.
As you can imagine, the lack of Maxi resulted in much disappointment from British Leyland fans (but for the general movie-going audience it's neither here nor there, I still enjoyed the movie even without the Maxi).
Sergeant Scott Weaver, of The Queens Royal Lancers launches a Black Hornet, Nano UAV from a compound in Afghanistan during Operation QALB.
Op QALB is a joint ISAF and ANSF operation, its aim is find enemy caches and disturb Insurgent supply chains.
Picture: Sergeant Rupert Frere RLC, Crown Copyright/MOD 2013
Miniature surveillance helicopters help protect front line troops
British troops in Afghanistan are the first to use state-of-the-art handheld nano surveillance helicopters.
The Black Hornet Nano Unmanned Air Vehicle measures around 4 inches by 1 inch (10cm x 2.5cm) and provides troops on the ground with vital situational awareness.
The Black Hornet is equipped with a tiny camera which gives troops reliable full-motion video and still images. Soldiers are using it to peer around corners or over walls and other obstacles to identify any hidden dangers and the images are displayed on a handheld terminal.
This revolutionary new system - the size of a child’s toy - is carried easily on patrol and is capable of performing in harsh environments and windy conditions.
The Black Hornet weighs as little as 16 grams and has been developed by Prox Dynamics AS of Norway as part of a £20 million contract for 160 units with Marlborough Communications Ltd in Surrey.
Sergeant Christopher Petherbridge of the Brigade Reconnaissance Force in Afghanistan said:
“Black Hornet is definitely adding value, especially considering the lightweight nature of it. We use it to look for insurgent firing points and check out exposed areas of the ground before crossing, which is a real asset. It is very easy to operate and offers amazing capability to the guys on the ground.”
Several compounded errors resulted in this mishap.
Insufficient spikes to prevent movement of the Checkrail.
Use of a lesser weight rail for the Checkrail set lower than the running rail.
Lightly loaded Flattop was being propelled at moderate speed(moderate speed here is less than a walking pace).
This Turnout has seen many movements across it in this state(Checkrail secured incorrectly) since insertion back in 2017 and has given no trouble until now. I had been watching this placement for sometime given the propensity of the Motor to shift the light track laterally. I had thought the Motor would have been the first to find the fault here.
However after noting a flange scrape mark along the top of the Checkrail it was discovered a small twig had fallen across the running rail ahead of the leading end of the Checkrail, that led to lifting the inside wheel up and on to the Checkrail, allowing the opposite wheel to climb the Frog and thence off onto the ground.
The Motor(had it been leading) would have just crushed the twig first with little lifting of the wheel.